my friend howard / meu amigo howard dyke

scary / assustador

o retorno da boa tv / the return of good tv

Ben Lewis - Art Safari from charles roderick on Vimeo.

o cara eh meio um babaca, mas o programa eh mto engracao
the guy's kind of a jerk, but the program is very funny

assustador e belo / scary beautiful

(original tip / dica original: gilberto de abreu)

o novo livro do meu amigo manuel / my friend manuel saiz's new book

decreatedBOOK is proud to present 101 Excuses. How Art Legitimises Itself by Manuel Saiz, a quasi exhaustive collection of grounds for legitimising works artists utilise in the Contemporary Art scene.

decreated  | 101 Excuses forum | contact us |                                            |  Versión Española  |
	101 Excuses. How Art Legitimises Itself by Manuel Saiz ...............................................................................................................................   € 12     order it here
See larger image  Sample extract from 101 Excuses. [pdf file]
.............................................................................................................................................................................................. Details ·            Paperback: 144 pages ·            Publisher: Decreated (2 Feb 2009) ·            Language English ·            ISBN: 978-84-612-9218-9 ·            Dimensions: 15 x 10.5 x 1 cm    Edited by Jonathan Kemp    Editorial coordination by Jorge Bravo    Printed by Romanyà Valls   Inside This Book   First Sentence It is important to begin by stating the premises: Every art work deserves to be realised and the only objective limits that can be put on an art work's multiplication are the ones that climate change or active legislation defines.  Read the first page Browse Sample Pages Front Cover | Copyright | Table of Contents   Decreated book is powered by

meu 1o mestre / my 1st teacher: andré toral

o site tah quase pronto / the site's almost ready

ando relapso c o blog mas eh pq estou fazendo um site sobre o meu trabalho... ainda tah bem incompleto, mas agradeco visitas e comentarios!

i've been careless w the blog recently bcoz i'm doing a site about my work... still very incomplete but i'll be thankful for any visits & comments!

www.tiagocarneirodacunha.net

outra boa / another good one

http://www.embl.org/aboutus/news/press/2006/02mar06/02mar06pic.html

engracado e interessante / funny & interesting

The art market is more moral than the stock market

Jerry Saltz | 18.2.09 |


trecho/extract:


Our argument was simple and straightforward, even if we utterly failed to make it properly. The art world, we said—like all worlds—has unethical practices.

“Chandelier bidding” happens and is disgusting; art dealers can be sharks; art fairs are like tent-city casinos; the market revved up the bullshit machine. Yet even considering all this, we said the art world is not more corrupt and less ethical than Wall Street. We acknowledged that the system may be damaged, but added that in our studios and in front of works of art when we experience moments of genuine stillness, intensity and meaningfulness, places on the edge of language, the market cannot strip away these things. In this imperfect realm, we sometimes experience the elemental otherness of art. That cannot happen in the stock market, ethics or not.

Mr Hue-Williams talked about how the art world has no regulations and that anyone can get into it. I said that other than basic guidelines already in place (especially in the auction sector), the art world is a “world” and not an industry. I’m lucky that “anyone can be in the art world”. I have no degrees and no qualifications, other than the fact that I want to do it. If there were guidelines about who could be in the art world, most of us wouldn’t be allowed to be here at all. Basically, they were arguing for a form of cultural-ethical cleansing. They claimed that with no regulations the only thing an art dealer needed was “to have two eyes”.

Once our side admitted to “chandelier bidding” and the rest, however, the day was lost. To the audience, the argument turned on the concept, “the art world is unethical”. To us, it turned only on the word “less”. Either way, these are semantic points that we clearly lost. As one blogger later noted: “I found that the ‘against the motion’ side made many errors of strategy and fact.”

Debate strategies and rules aside, I think it’s utterly ridiculous to claim that the art world is “less ethical than the stock market”. The stock market made more people richer, made more people lose money, and brought the US to its knees. By comparison, the art world is relatively benign, and the unethical parts are relatively limited. No one in the art world jumped out of a window because a painting’s price decreased. No one was put out of their home because of the art market. Even at its height, 1% of 1% of 1% of all artists made money. You can rail against the business practices of the art world, but even in flush times reputations are built on credibility, not on money or the market. The public is suspicious of the art world because the art market, and not art, is what they saw first when they saw art. Regardless, just because a dealer makes a lot of money doesn’t mean that they have the respect of the art world. Money doesn’t earn respect. Respect exists outside of the market. If you are in art for the money, you’re not really in art at all. As Brice Marden said: “It’s not the art that’s suffering; it’s the market that’s suffering. They don’t have anything to do with each other.”

An audience member identified himself as a lawyer and said he agreed with the other side because we can never be certain about the true value of art. I agree—the art world, especially now, is not about “certainty”. The art world is a space where uncertainty, doubt and paradox exist, and can transform the world. Art is not a decorative ornament on the edifice of philosophy, religion or economics. Art is not optional. Art is a universal force that helps make things happen, even if some of those things are tainted. The debate made me understand several things: cynicism about the art world runs deep; I have no clue how to debate; the art world exists in a realm that can be described by, but is nevertheless beyond, words. The following day, an old Beatles lyric drifted through my mind: “Although they thought I knew the answer; I knew but I could not say.”

full text @:
http://www.theartnewspaper.com/article.asp?id=16949

retorno da boa tv / return of good tv

esse eh bom demais... / this one's awesome

nós no japão / in japan

Erika Verzutti /Tiago Carneiro da Cunha"

January 26 mon - February 22 sun 2009

Opening reception : January 26th 2009 18:00-20:00

MISAKO & ROSEN is pleased to announce our next exhibition, a
two-person show featuring new sculptures by two Brazilian artists,
Tiago Carneiro da Cunha and Erika Verzutti. Verzutti's work was
recently on view in Tokyo as part of the group exhibition, "Neo
Tropicalia When Lives Become Form", presented by the Museum of
Contemporary Art as well as the exhibition "Haptic" curated by Vik
Muniz for Tokyo Wonder Site Hongo; this is Tiago's debut Tokyo
exhibition.

The exhibition, a continuation of a series of two-person shows
presented by the gallery, contrasts the sleek, very well produced work
of Tiago with the trashy, incomplete-looking work of Verzutti. Both
artists work in popular art-language - sculpture and both produce works
that represent things from the real world - usually animals (including
people) or plants but each takes a different approach to producing
works. Tiago's sculptures are made from a contemporary material - resin
(though, more recently also ceramic) and have a very high quality
production look. Erika's work, on the other hand, is the result of her
playful use of basic art materials such as clay, paint and the actual
materials she uses to make art works (such as paint brushes, rulers and
pencils). Erika's works look unfinished but also obviously look like
something from the real world - an animal or a plant. Tiago's
sculptures are very artificial looking but also represent living things
from the real world.

Both artists use a common medium that general people can understand
- sculpture - and make works that almost look like craft instead of
art; but their goal is to confuse the idea of craft and art, hi and low
art and to introduce popular ideas into contemporary art. This is also
the goal of MISAKO & ROSEN so we hope that you have a chance to
enjoy this unusual chance to see the work of two young Brazilian
artists in a Tokyo gallery exhibition.

Exhibitions:

"Haptic" curated by Vik Muniz : Tokyo Wonder Site Hongo

until January 12th 2009

http://www.tokyo-ws.org/english/

"Neo Tropicalia When Lives Become Form"

January 24, 2008 - March 1, 2009

http://www.hcmca.cf.city.hiroshima.jp/web/main_e/exhibitions.html

click each image to enlarge

• HOME

exposicao em lisboa / lisbon exhibition

'tres novas esculturas pessimistas, e uma não tão nova'
VPF, Lisboa, 11/2008

'three new pessimistic sculptures, and one not so new'
VPF, Lisbon, 11/2008



http://www.vpfcreamart.com/