March 15 – May 3, 2008
Opening Saturday March 15, 7-9pm

Exit Art is pleased to announce the opening of E.P.A. (Environmental Performance Actions), the first project of S.E.A, a large-scale program dealing with current environmental concerns and the way artists respond to them. E.P.A is a group exhibition surveying recent performance work from around the world that addresses current environmental crises. The exhibition will consist of videos, photographs, texts, related ephemera and a film program documenting recent performances. For this opening project we have invited Amy Lipton and Patricia Watts, co-curators and founders of ecoartspace, a leading international environmental arts organization, to collaborate with Exit Art on the organization and presentation of this material. E.P.A. will include performance documentation from more than 30 international artists. These works, created in the public sphere, draw attention to and engage the public in a dialogue about issues such as climate change, watersheds, urbanization and, ultimately, human survival. E.P.A. will set the precedence for future exhibitions of S.E.A. dealing with environmental issues including The End of Oil, about the global oil crisis and alternative energy, and Consume, about food production, agricultural and sustainable living practices. An exhibition of historical social-environmental art works is also planned to place this work in context.

E.P.A. will include performance documentation from more than 30 international artists. These works, created in the public sphere, draw attention to and engage the public in a dialogue about issues such as climate change, watersheds, urbanization and, ultimately, human survival. E.P.A. will set the precedence for future exhibitions of S.E.A. dealing with environmental issues including The End of Oil, about the global oil crisis and alternative energy, and Consume, about food production, agricultural and sustainable living practices. An exhibition of historical social-environmental art works is also planned to place this work in context.

ARTISTS
Brandon Ballengee, Vaughn Bell, Sarah Kavage and Nicole Kistler, Mark Brest van Kempen, Carissa Carman and Joanna Lake, Susanne Cockrell, Xavier Cortada, Carrie Dashow, Erica Fielder, Ozzie Forbes, Amy Franceschini, Aaron Gach, Fritz Haeg, Amy Howden-Chapman, Basia Irland, Scot Kaplan, Carolyn Lambert, Robin Lasser, Bill Meyer, Kathryn Miller and Michael Honer, Miss Rockaway Armada, Matthew Moore, Eve Mosher, Cary Peppermint and Christine Nadir, Andrea Polli, James Reed, Austin Shull, Brooke Singer and Brian Rigney Hubbard, Chris Sollars

CURATORS
Jeanette Ingberman
Papo Colo
Amy Lipton
Patricia Watts

EXHIBITION SUPPORT
General exhibition support provided by Carnegie Corporation, Jerome Foundation, New York State Council on the Arts, Starry Night Fund at The Tides Foundation, Exit Art’s Board of Trustees and our members. Public programs support provided by The New York City Department of Cultural Affairs.

GENERAL INFORMATION
Exit Art is located at 475 Tenth Avenue at 36th Street. Exit Art is open each Tuesday through Thursday, 10 am – 6 pm; and LATE Friday, 10 am – 8 pm AND Saturday, noon – 8 pm Closed Sunday and Monday. There is a suggested donation of $5. For more information call 212-966-7745.

FLETCHER BOOTE + ALISHA KERLIN + AUSTIN SHULL + RACHAEL WREN
FEBRUARY 2-29, 2008 - OPENING NIGHT SATURDAY FEBRUARY 2nd 7-9PM

Long Island City, New York, January 15, 2008: Four rapidly emerging young artists present new work across a wide spectrum of media. Sound, sculpture, video, painting, and installation are explored, while a dialogue between the works, their creators, and the viewer gives form (and perhaps a title) to this project at Repetti.
Dialogical in nature, Austin Shull’s new videos document the artist performing various fundamental, yet rebellious chores. The Washington Monument serves as a backdrop for DC Fire, in which Shull makes a fire without matches as an act of protest and resistance. He says that while “late capitalism continues to increase
the distance between labor and sustenance, my actions in these videos address the relationship between human energy expenditure and elements such as water or fire, needed for survival.”

A strange sense of impending uncertainty is created by Cascading Brink of Upper Falls, a furniture and video installation that Alisha Kerlin describes as a “voyeuristic bedroom grouping.” Much of the video looks inward, through a Viewmaster, where scenes from reels like ‘Spectacular Waterfalls’ mingle between fiction and reality. Meanwhile, Rachael Wren’s paintings radiate light outwards, their forms slowly unfolding before the viewer. Like Shull’s videos, these easel paintings are made through an exploration of basic formal phenomena. Here they’re presented not only as documents of that journey, but also as invitations for viewer participation.

In his book, ‘Conversation Pieces,’ Grant Kester describes Dialogical work as, “unfolding through a process of performative interaction,” and standing in contrast to traditional art which is “produced entirely by the artist and only subsequently offered to the viewer.” Dealing with the very participatory medium of sound, Fletcher Boote
says she hopes to, “eradicate the boundaries that separate ‘one’ from the ‘other’. Presented here are single modules of sound, often her own voice, which build into a crescendo of information before again allowing quiet. Just as meaning is derived through the collaboration between Boote and her audience, we hope a project title is generated in the wake of the interaction between these four artists’ work.
Please contact sam@repetti.org for more information, or visit www.repetti.org. Repetti is open Friday to Sunday
from 12 to 5pm (or by appointment), and is located at 44-02 23rd St. Long Island City, NY, 11101. (718) 786-
8007. Subway: E, V to 23rd St. Ely. 7, G to Courthouse SQ.

This is Not a Self-Portrait
Gallery 2, Chicago, IL
September 21 - October 20, 2007
Opening reception: Friday, September 21, 5:00 - 8:00 pm

www.thisisnotaselfportrait.com

The Moss Growing Tumbleweed Experience

NICC has invited Hans Theys to lead a debate on the question: 'Should the NICC organize artistic activities?'

Come see and hear for yourself in the next ten months the continuing debate with six different participants who each come and present themselves and what they are working on.

See how around the sculpture 'Oak Rumble' by Leon Vranken, a changing, twisting and evolving exhibition takes form, with work from Boris Beaucarne, Geert Goiris, Koen Deprez, Damien De Lepeleire, Bernd Lohaus, Philip Janssens, Danny Devos, Fanny Zaman, Austin Shull, Yu-Sheng Ho, Tomas Boiy and many others .

The first participant is the famous guitarist Philip Catherine and it begins on Sunday 25th of February at 3.30 p.m.

The second contribution is from Walter Swennen on Sunday 25th of March.

See our double trailer on YouTube
http://www.youtube.com/watch?v=gi8_XcmgmeA
http://www.youtube.com/watch?v=fa1qh8upZ24

See the link to Oak Rumble
http://www.youtube.com/watch?v=4Ya9Cev3ZNI

New International Cultural Center
Museumstraat 35/37
2000 Antwerpen
Belgium

5 X 5
ACARIGUA - NEW YORK
Curated by Juana Valdes
Opening Reception: Tuesday, March 1st 2007 from 6:00-9:00 PM

Participating artists from Venezuela and USA: Victor Asuaje, Benjamin Arenas, Tulio Diaz, Engelbert Peña, Gregson Zambrano, YaQin Betty Chou, Robert Gray, Jessica Hankey, Austin Shull, David Snyder

March 1, 2007 – April 5, 2007
Salon Abdres Bello
Embassy of the Bolivarian Republic of Vezezuela
1099 30th St., NW
Washington D.C. 20007
www.5x5web.com
www.csvcenter.com



The exhibition was organized by: Museo de Arte Acarigua-Araure, Venezuela.
Sponsored by: ACC Insurance Brokers Group and the Venezuelan American Endowment for the Arts

The "5 x 5" exhibition brings together artists working in Acarigua-Araure, Venezuela, New York City, and Berlin. This group of artists are challenging ideas in contemporary art, exploring the boundaries of painting, and bringing together different cultures and aesthetics. This is the second part of a cultural exchange which began with a February of 2004 exhibition, opening at the Museo de Arte Acarigua Araure, in Acarigua-Araure, Venezuela. This exhibition is the product of the dialogue that developed between Ali Cordero Casal and the curator of the exhibition, Juana Valdes, on issues of class/labor, cultural production, and art’s potential to cross geographical borders. This discussion, while informed by contemporary technological developments that transform our relationship to communication and geography, has a lengthy history: artists have long used new means of communication and technology to share their work and exchange ideas. While we are still separated by borders, language, and ideology, the aspiration to somehow create and share by passing over (or traveling over) these elusive markers of place and difference persists. For most artists, the initial method of making art is a personal experience but the final objective is one of interaction with the public. The exhibition will feature works from the previous exhibition as well as new work that is being exhibited for the first time.