this issue contains
>> Seligenstadt: Blind Date/ New York: / Würzburg: Dialog Skulptur
>> Hilla von Rebay at Deutsche Guggenheim / Anton Stankowski in Stuttgart

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Her video Dough (2005-2006) depicts a fat woman suffering from allergies; when she sniffs a flower, tears well up in her eyes, run down her legs, and evaporate on a hot tile at her feet.

While the women in Rottenburg's works are cooped up like laborers in a sweatshop, the production of bodily fluids seems like a parable of capitalist conditions of production – a true Sisyphean task. The Lobby Gallery is also showing drawings that arose parallel to Rottenburg's installations and accompany them – diagrams that teem with pollen, flowers, and irritants.

Mika Rottenberg, e21, 2005
© courtesy the artist & Nicole klagsbrun Gallery

"Subtle" is what Holland Cotter, art reviewer for the New York Times, called the work of 1975-born Jennie C. Jones , whose filigree collage series Record & Listen in Yellow and Brown (2004) combines the formal languages of Classic Modernism and Abstract Expressionism with elements of jazz culture. At first glance, her small-scale pictures resemble abstract compositions, but then the lines emanating from the squares and rectangles or intertwining with one another turn out to be microscopically fine cables and microphones – all of which joins together to form an overall sound system. Jones' work investigates how African American culture has left its mark on notions of "modernity." "Some historic intersections are clear," Jones asserts, "a Jackson Pollock as the cover of an Ornette Coleman album, the 'scat' talk that influenced the 'Beat' generation or the exchange between black expatriates and French Left Bank intellectuals." Her latest installations implement legendary jazz recordings along with drawing to research various black modernist utopias.

Charles LaBelle, Driftworks: London, 2004

The question of cultural localization takes on key significance for many of the exhibition's participants. With his psychogeographic works, the Situationist-influenced Charles LaBelle examines the boundaries between art and reality, critically investigating the social constructs of sexual, social, and racial identity. A selection of his Sugar Hill Suite can be seen at the Lobby Gallery; made between 2005 and 2006, it is a series of 800 drawings of buildings documenting his daily walks through the Harlem neighborhood of Sugar Hill: late 19th-century brownstones, churches, barber shops, jazz clubs, dilapidated tenement buildings, and liquor stores. Next to these, in an allusion to his own bodily movement and the innumerable invisible "bodies" populating the buildings in his drawings, are his so-called "Bloodmaps," on which he draws diagrams of the paths he takes through the district in blood – as though he were moving through a gigantic system of arteries.

Carlos Motta, Traktornaya Street
Gorky Entertainment Complex,
both from the series Leningrad, Petrograd, Petersburg, 2006
© Carlos Motta

Carlos Motta also pursues urban trails, albeit in St. Petersburg, where he embarks on his search for the places and sites portrayed in Leningrad , an illustrated volume from 1954 that was published in the USSR during the Cold War. His diptychs juxtapose the earlier illustrations with photographs of the locations today. On the other hand, Carrie Moyer uses historical material in a completely different way. Her prints are based on poster motifs from the sixties, individual elements of which she isolates and transforms into abstract, rhythmic forms. The Brooklyn-based artist Chitra Ganesh also incorporates images from mass culture in her surreal drawings: images from Bollywood posters and comics are paired with motifs from Greek and Hindu mythology, television and internet images. The female body appears doubled, dismembered, fragmented – as an amorphous site of cultural conflict on which predetermined sexual roles collide with repressed fear and longing.

Gareth James, An image of something for which a strong social taboo or legislation prohibits actual indexical repredentations, 2005
© Gareth James

Gareth James' elaborately folded origami works frequently pick up on motifs from newspapers; they are three-dimensional models of thought that formally investigate abstraction and reduction as well as temporal and spatial perception. Ignacio Gonzalez Lang's reconstruction of a CNN website is an astonishingly pragmatic translation of a virtual image into "reality." The improvised "imitation" of the internet site reporting on a prison escape is fashioned from an appropriate material: toilet paper.

Ignacio Gonzales Lang, Fake, 2004
© Ignacio Lang is an exhibition of cartographies, models, and methods of appropriation in which the majority of the artists reference media images as their point of departure. A good example is the sports fan and confessing experimentalist Lee Walton, whose works can take on a variety of forms: drawing, video, web performance, public action, and theater. In all of his projects, Walton is interested in generating new experiences to expand consciousness. This also applies to the sign series he has been making for years from baseball games broadcast on television. Each individual play is recorded as a diagram on a small slip of paper; pictures of entire games join together to form rhythmic images whose modernist elegance recalls a cross between Mondrian and de Kooning. The virtuosity Walton brings to bear in combining conceptual solutions with formal and aesthetic approaches is amazing – as amazing as this exhibition, which sets the tone in every respect.

Lee Walton, Yankees vs Boston, Sept 30, 2005
© Lee Walton & Kraushaar Galleries, New York

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