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Superimpose, Art in Print, January-February 2012
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Interview, Kopenhagen, July 19, 2011
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Dispatch at No Soul For Sale, Rhizome.org by Ceci Moss, Tate Modern, May 16, 2010
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Virginia Overton in the New Yorker, April 5, 2010
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Virginia Overton critics' pick in Time Out New York, March 11, 2010
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Ellie Ga as Told To Lauren O'Neill Butler in 500 Words, Artforum.com March 2010
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Erica Baum in Mousse interviewed by Cecilia Alemani, Mar 2010
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Tom Holmes in Time Out New York by Anne Doran, Feb 4-10 2010
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Justin Matherly in Frieze Magazine by Bob Nickas, Jan 2010
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Krysten Cunningham in The New Yorker by Andrea Scott, Dec 14 2009
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Krysten Cunningham in The New York Times by Karen Rosenberg Nov 27 2009, p c35
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Mirror Me, Artforum.com Critic's Pick by Cathleen Chaffee, Aug 13 2009
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Alex Gartenfeld w Brandon Stosuy on Mirror Me, Art in America online, 7/28/09
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No Soul For Sale, The New York Times, June 25 2009
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Dispatch Interview, 02 Magazine, Summer 2009
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No Soul For Sale / Dispatch: Interview of Howie Chen by Alex Gartenfeld, Interview Magazine, June 20 2009
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Erica Baum, Art in America, June/July 2009
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Erica Baum, Artforum International, May 2009
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Indian Ocean, The New York Times, April 24 2009
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Erica Baum, The New York Times, Mar 20 2009
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Village Voice: Voice Choices, Mar 11, 2009
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Erica Baum, Artforum.com Critics' Picks, Feb 24 2009
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'Art on a Shoestring', New York Magazine - Nov 30 2008
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Flash Art - October 2008
english version / italian version
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New
York Post, Sept 27, 2008
'Artsy in the hood', Sarah Schmerler
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Helsingborgs
Dagblads - Sept 6, 2008
Karin Westeman
"At the end of my visit, I am nevertheless pleased to have experienced
a playful, yet balanced exhibition with an exciting mix of expressions
that make it open to interpretation. But the exhibition also shows that
communication is most difficult and we attempt to constantly communicate
with each other and with ourselves." (google translation - apologies, ed.)
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Sydsvenskan
- 28 August, 2008
CAROLINA SÖDERHOLM, Kommunikation på villovägar
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Artforum
International, Summer 2008
Michael Wilson, Mark Van Yetter and Matt Hoyt, Dispatch
"Yetter's practice is a rather scattershot affair, while Hoyt's revolves
around and almost Zen-like introspective focus. What seems to bind the
two artists together is an attraction to the anachornistic and opaque,
an interest in making objects and images that pull away from the here
and now."
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Art
in America, March 2008
'David Adamo, Museum Museum: XX, at the Metropolitan Museum of
Art'
David Ebony
"Can an artwork exist without an audience? When we gaze and an art object
do we participate in a sort of ritual act that makes each of us an essential
collaborator in the artistic process? Is art viewing itself a performance,
a unique artistic endeavor that varies with each individual? These are
the kinds of questions posed by David Adamo's wry action Museum Museum:
XX at the Metropolitan Museum of Art."
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Le
Temps>>
Elisabeth Chardon
Dec 8, 2007
"FESTIVAL. Un parcours permet de découvrir la culture émergente
dans 13 lieux de la ville... Des nouveaux sont arrivés. Sur le
papier, on est toujours dans l'émergence, la découverte,
l'ouverture... Vérification.
L'installation de Mika Tajima, joli travail sur le reflet, est encore
tout épurée. Samedi, il y aura eu entre-temps une performance
qui l'aura transformée, emplie de miroirs brisés...
Un peu de retard et voilà l'étape Sévelin du parcours
qui saute. Direction la Galerie Basta. Ce petit sous-sol nous mène
droit au Pôle Nord, d'où Ellie Ga envoie des messages. Elle
fait partie des artistes présentés par le Dispatch Office,
un duo de curateurs. Qui cohabitent avec les incroyables battes de baseball
déchiquetées de l'Américain David Adamo."
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Kunstbulletin>>
Dec 2007
"...L'art
contemporain se répartit ainsi entre quatre lieux - Circuit, la
galerie 1m3, l'espace Basta et l'espace Bellevaux - qui présentent
des accrochages choisis et mis sur pied par les new-yorkais de «Dispatch
Office» et le Français Julien Fronsacq, prof d'histoire de
l'art à l'Ecal, critique d'art et curateur indépendant...." |
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Flavorpill.com
>>
Feb 2006
Everything
beautiful and noble is the result of reason and calculation
Organized by the Swiss Institute's Gabrielle Giattino and Whitney at Altria's
Howie Chen, this curatorial tour de force elaborates upon Baudelaire's
famous line from the seminal essay The Painter of Modern Life to celebrate
a new generation of contemporary artists working with conceptual strategies.
A massive installation-cum-performance by David Adamo and Michael Portnoy,
featuring an army of interns investigating the production of lemon water,
headlines the opening reception. Alex Hubbard's video work Moolack Beach
Sunset Reversal II turns time and place inside out, and Justin Matherly's
delirious, gilded sculpture confounds the senses. Against the backdrop
of the fashion district, these works underscore seductive visuality with
provocatively jarring aesthetic puzzles. (Andrew Maerkle)
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Flash
Art >>
Feb 2006
Everything Beautiful and Noble Is the Result of Reason and Calculation
Until March 25 find out why "Everything Beautiful and Noble Is the
Result of Reason and Calculation" -- a goru pshow that inaugurates
the Elizabeth Foundation of the Arts' new exhibition program. Curated by
Whitney Altria's Howie Chen an Swiss Institute's Gabrielle Giattino, the
exhibition presents ten up-and-coming artists from New York whose work addresses
certain tendencies in conceptual production towards eluding immediate readings.
Though deemed 'opaque,' each is rigourously fine-tunign ideas of dematerialization
in ways the art object never saw coming. -Aaron Multon
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Artforum.com
>>
Feb 2006
Everything Beautiful and Noble Is the Result of Reason and Calculation
Hovering between and adding an ironic twist to the two notions that for
centuries have determined artistic and philosophic quarrels—form
and content—this exhibition features works by ten New York–based
emerging artists concerned with the unresolved relationship between visible
appearance and invisible essence. Curators Howie Chen and Gabrielle Giattino
adopt the famous quote from Baudelaire's 1863 "The Painter of Modern
Life" to highlight visual manifestation instead of interpretation;
the works in the exhibition employ deceptive strategies such as transparency,
ambiguity, repetition, reflection, and deflection. With witty irony, Andrea
Merkx plays tautological games in Talks about Rosalind Krauss, 2004, a
3-D video in which she questions Krauss's studies of stereoscopy. Eileen
Quinlan's six photographs, Full Edition of Smoke & Mirrors #88, 2006,
skillfully capture the ephemeral nature of light and smoke on mirrors,
while a rock is methodically shown from multiple viewpoints and yet remains
impenetrable in Daniel Lefcourt's video Material & Spiritual Wealth,
2004. David Adamo and Michael Portnoy present the multimedia installation
C.O.T.E. Advanced Intern Research: Proposals for Lemonwater, 2006. The
acronym stands for "Complication of the Everyday," which gives
one a sense of the paradoxical research carried on here. In order to find
the perfect combination of lemon and water, the artists and the visitors
have been analyzing, inspecting, squeezing, and sectioning the most monstrous
lemons and citruses ever seen. The seriousness and precision of this research
contrasts with the absurdity and futility of the project, and the incongruity
aligns with the exhibition's theme: Here, hidden meanings are put aside
for purely aesthetic constructions.
- Cecilia Alemani
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Time
Out New York >>
Mar 2004
Along for
the ride
Two young collectives make unorthodox appearances at the Armory Show
Visitors to this
year’s Armory Show – a contemporary art fair held on Piers
90 and 92 in Manhattan – will pass by a series of stands on their
way inside, manned by art institutions and publications. One of these,
the Swiss Institute (SI), is a nonprofit gallery in Soho, and while it
isn’t offering art for sale, it is sponsoring performances by two
Brooklyn performance-art collectives: Red Shoe Delivery Service (RSDS)
and New Humans. According to curator Gabrielle Giattino, the idea is to
“connect the other parts of the armory with our booth, the Swiss
Institute and the streets of New York.”
...
On Monday 15, RSDS
will be driving people from the Armory Show to the location of their choice.
“Whether they want to have dinner in Tribecca or a hot dog in Central
Park, we’ll take them there,” vows Guth. On Friday 12 and
Saturday 13, the van will shuttle visitors between the piers and the Swiss
Institute. Anyone who snags the last ride on Friday will have a chance
to see the New Humans perform at SI, which is open that evening from 7
– 11pm. The group, formed last year as a part of member Mika Tajima’s
MFA thesis project at Columbia, creates experimental music (more noise
rock than John Cage) that digitally translates visual patterns into sound.
Their costumes for SI, created in collaboration with fashion collective
United Bamboo, will riff on their usual uniform of rugby shirts, embellished
here with fabric strips that trail 10 yards from the body. (Videos by
RSDS will also be shown throughout the evening.)
Meanwhile at the
Armory Show, the New Humans will spontaneously appear in the halls, carrying
textless, colored signs while chanting incomprehensibly. Tajima describes
these actions as “interventions of celebration and resistance.”
Celebration, sure. But in the face of so much art, resistance might just
prove futile. -Amoreen Armetta |
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