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27. Apr. 2014
B. Frank /

Hey Hey!

I'm looking for someone to team up with who can screen print simple designs in single or two-tone colour on fabric?

I'm interested in both

- someone who can give me a consultation about designs (what it would cost in materials, how hard they would be, how much time it would take to print)

- someone who could actually print the patterns.

Get in touch!

Chris Gylee /

In 2014 we're creating a Reading Room in Hamilton House, Bristol - a sanctuary for rare, unusual and beautiful books based on the model of user-generated library Mellow Pages in Brooklyn ( All books in the Reading Room will be donated by a network of members, and displayed to view and peruse in a small dedicated space in the creative warrens of Hamilton House. (

In the next couple of months we need some help to transform the space - painting walls, acquiring furniture, fixing new lamps and lights, potting plants, hammering nails in walls and cataloguing books.

If you can help please get in touch. Time/Bank hours to be paid for each hour of work contributed to the project. And if you'd like to join the Reading Room or find out more, do write.

15. Apr. 2014
bosicontemporary /

LINEA: Katie Holten and Mariateresa Sartori

Curated by Kathy Battista

April 27 – May 31, 2014

Opening Reception: Sunday, April 27, 6-9 pm
Public walk with the artists: Thursday, May 1, 4pm

BOSI Contemporary is pleased to announce Linea, an exhibition of new work by Katie Holten and Mariateresa Sartori curated by Kathy Battista. The exhibition will consider the potential of drawing through works on paper, canvas, and cardboard, as well as video, found objects, and a series of walks.

The two artists were chosen for their investigations into drawing as an expanded field. Drawing is the basis of their work – as an act of mark making, a tool for mapping presence and a device for tracing actions. In the twentieth century drawing was freed from representation, effectively liberating it from the flat surface, enabling it to venture into space. Holten and Sartori use various means to obsessively map their place in the cosmos - Linea refers to the geological strata on the surface of a moon or a planet and in Italian it means “line”, the basis of all drawing.

Katie Holten’s Constellations are a series of new white-on-black drawings that resemble aggregations of stars. In fact, the basis for her images is not “outer” space but the landscape of the Earth; Holten uses the NASA Earth Observatory’s 2012 satellite images of the planet at night as source material. She recently completed a MOOC on Complexity at the Santa Fe Institute in which she studied how complexity emerges and evolves in nature, society, and technology. She explored the tools used by scientists to understand complex systems, including dynamics, chaos, fractals, information theory, self-organization, iteration, and networks. Holten is compelled by the imperative of examining how our collective history is embedded in landscape. The Constellations interrogate how the physical structures of humanity are interwoven with the natural world as they map specific places – networks of cities and towns – with their connecting arteries. In these drawings, Holten uses chalk formed during the Cretaceous period, which she collected while walking along a former seabed in western Kansas. The site is plotted in Constellation, the Midwest.

Mariateresa Sartori’s double channel video The Drawers shows her students drawing, their eyes looking at the camera, darting to the pages below, and back again. Their subject is Sartori herself. An exploration of looking and, potentially, power, it is, as Samuel Bordreuil says in the Linea catalogue, “between the Velázquez of Las Meninas and the Panopticon of Jeremy Bentham.” A related series of drawings by Sartori, 1 minute and 15 seconds of drawers’ gazes, depicts the eye movements of the same group of students in small drawings. Resembling a grid of electrocardiographs, it turns gaze into line. In The Progressive, Sartori translates into signs the compositional principles of Brahms’ 4th Symphony, turning Brahms’ branch-like musical structure into a rippling, undulating series of lines, iterating themes into networks much as Holten does with landscape.

Sartori and Holten find beauty in their investigations of systemic composition and line. Telling stories with literal and metaphorical maps, they work within a great art historical tradition, yet extend this lineage with their personal choice of subjects and gift for subtle gestures. In today’s world of frenetic, fleeting and ephemeral communications, Holten and Sartori write love letters for posterity, reminding the viewer that beauty is found in the slightest of movements and the rhythms and patterns of language.

Their common interest in mapping relates to the practice of walking, which brought the artists together in May 2013 when Holten was on a residency in Venice and walked the city as part of her Ten Years Later project in which she revisited her Irish Pavilion for the 50th Venice Biennale in 2003. For the duration of Linea, Holten will lead a walk every day. Joined by a diverse group—including artists, scientists, and writers—she will trace the urban landscape and 'mine' objects, while creating drawings and photographs. On May 1st at 4pm the public is invited to join Holten and Sartori on a walk.

The exhibition will be accompanied by a fully illustrated catalogue with texts by Kathy Battista, Samuel Bordreuil, and a conversation between Katie Holten and Sarah Sze.

Katie Holten (b. 1975, Dublin, Ireland) is an alumna of the National College of Art and Design, Dublin, Ireland (1998); Hochschule der Künste, Berlin, Germany (1997); Cornell University, New York, USA (2006); and Santa Fe Institute, New Mexico, USA (2013). In 2003 she represented Ireland at the 50th Venice Biennale. She has had solo museum exhibitions at the New Orleans Museum of Art, New Orleans, USA (2012); Dublin City Gallery The Hugh Lane, Dublin, Ireland (2010); The Bronx Museum of the Arts, New York, USA (2009); Nevada Museum of Art, Reno, Nevada, USA (2008); Villa Merkel, Esslingen, Germany (2008); and the Contemporary Art Museum St. Louis, Missouri, USA (2007). Recent group exhibitions include 1st Cartagena Biennale, Museo Naval, Cartagena, Colombia (2014); Contemporary Irish Art, BOZAR, Brussels, Belgium (2013); Light and Landscape, Storm King Art Center, New York, USA (2012); and Twenty, Irish Museum of Modern Art, Dublin, Ireland (2011). Her public projects include Ten Years Later, Venice, Italy (2013) and Tree Museum, Grand Concourse, Bronx, New York, USA (2009-2010). Her work is included in public collections including the Irish Museum of Modern Art, Dublin, Ireland; Nevada Museum of Art, Reno, USA; and the Bronx Museum of the Arts, New York, USA. She lives in New York City.

Mariateresa Sartori (b. 1961, Venice, Italy) graduated in German language and literature at the University of Ca' Foscari, Venice, Italy (1987) with a thesis on Freud and his psychology in art. She has had solo exhibitions at Galleria Michela Rizzo, Venice, Italy (2013); Greenhouse, Giardini Biennale, Venice, Italy (2011); a two person show with Antoni Muntadas, Galleria Michela Rizzo, Venice (2009); Foundation Querini Stampalia, Venice (2009); and Foundation Bevilacqua La Masa, Palazzetto Tito, Venice (2005). Among her group shows are Off Course: A Narration Between Italy and Greater China, Foundation Querini Stampalia, Venice (2013); At Heaven's Door: Cyberfest, The State Hermitage Museum, Petersburg, Russia (2012); Movingimage, Contemporary Video Art Fair, Waterfront New York Tunnel, New York, USA (2012); In Other Words: The Black Market of Translation, Negotiating Contemporary Cultures, NGBK, Kunstraum Kreuzberg/Bethanien, Berlin, Germany (2012); Fuori Centro, Hangar Bicocca Foundation, Milan, Italy (2009); XV Quadrennial of Rome, (2008); Energy, Folkwang Museum, Essen, Germany (2003); Projekt Artist in Residence, Graz, Austria (2000); Pittura Immedia, Neue Galerie, Graz, Austria / Mücsarnok, Kunsthalle Budapest, Hungary (1995); and the 45th Venice Biennale (1993). Since 2000 Sartori teaches public drawing courses to absolute beginners, using Betty Edwards’ method that starts from the same neuroscientific assumptions that move her artistic research. She lives in Venice, Italy.

Kathy Battista is a writer, curator, and educator. She is Director of Contemporary Art at Sotheby’s Institute of Art, New York. She is the author of Re-negotiating The Body: Feminist Artists in 1970s London (IB Tauris, 2012) and the forthcoming New York New Wave (IB Tauris, 2014). She lives in New York City.

Updates and a schedule of the walks will be available at

Sergei Vasilev /

I'm looking for someone who could help with the translation into German with Russian. Also wishes to practice in Russian-German speech on Skype.

E.M.Claus /
Den Haag and Amsterdam

ik zoek een fotogra(a)f(e) voor a. foto''s van 2 kamers in mijn huis, alsmede b. voor een goede portretfoto van mijzelf, bestemd voor mijn folder en internetsite

25. Mar. 2014
videotage /

Video Art, Experimental Films and Music from the extreme remoteness of Papa Westray

Papay Gyro Nights Art Festival 2014: Hong Kong, one of the city’s most monumental events of media and contemporary art, is making its third annual return next month. Originated in a remote Scottish island named Papa Westray, Papay Gyro Nights is an annual celebration that reflects on the folktale, heritage, ritual and ancient tradition, interpreted by new media art. Riding along this theme, this year’s Hong Kong edition will comprise a diverse range of activities, including curators talks, video art exhibitions, experimental film screenings, and live performances delivered by more than 10 internationally renowned artists.

The Hong Kong edition of the festival is co-organized by Videotage and Papay Gyro Nights Art Festival (Orkney), in collaboration with NOVA (Northern Video Art Network), 700IS (Iceland), SKOGUL GONDUL (Norway) and FixC (Finland).


*** Featured Programmes ***
(Seat are limited, Click here to RSVP!)

>>>04 April (FRI) – Grand Opening
@Cattle Depot Artist Village

2-3pm @Frog King Studio: Frog King Book Launch
3-6pm @Videotage: Screening + Curator’s talk
- Selection of Video Art from NOVA (Northern Video Art Network), Papay Gyro Nights (Orkney), 700IS (Iceland) and SKOGUL GONDUL (Norway).
- Speakers: Ivanov, Chan and Juha van Ingen
7-11pm @Videotage: Screening + Performance
- Selection of Video Art from FixC (Finland)
- Performance: Inter_Active
An interactive lo-tech computer-aided installation inspired by snakes and ladders in an ancient board game in India.
- Performance: Open Karaoke
Participants freely interpret (by talking, singing or playing a musical instrument) a projected video with a rhythmic soundtrack.

***Free Exotic Nordic Drinks will be served at the opening!***

>>>06 April (SUN) – Talk: Bonfire Architecture
6pm @M1052, 1/F, Run Run Shaw Creative Media Centre (how to get there?)
Curators Ivanov and Chan will talk about burning constructions and architectural activism.

>>>10 April (THU) – Party: Papa Westray – Cheung Chau
8pm – 1am @Secret Location in Cheung Chau
Curator’s Talk + Screening + Performance

>>>11 April (FRI) – Live Performance: Construction in Kneading by Ryo Ikeshiro
8pm @Videotage
An absolute highlight of this year’s festival! In Ryo’s experimental “live audiovisualizaion”, the audio and visuals are generated from the same data and process and are thus perceived as a combined audiovisual entity.

>>>12 April (SAT) – Screening: Incoherent Cinema
8pm @Secret Location in Sham Shui Po
Film installations, films and film projects based on the International Incoherence Manifest.

>>>13 April (SUN) – Workshop by Ryo Ikeshiro
1 – 2:30pm @Videotage
Ryo will introduce Max/MSP/Jitter, a patch-based programming environment for artists.

>>>15 April (TUE) – Lecture by Ryo Ikeshiro
5 – 6:30pm @M6094 Future Cinema, 6/F, Run Run Shaw Creative Media Centre (how to get there?)
Ryo will be talking about Live Audiovisualisation using Emergent Generative Systems.

>>>18 April (FRI) – Closing Screening: Elasticita by Katrín Ólafsdóttir
7 – 9pm @Videotage
A collection of erotic poems built from archival Super8 materials. Elasticita creates a world of tactile sensations perceptible by sight.

(Seat are limited, Click here to RSVP!)

Inquiry: 2573-1869/

19. Mar. 2014
bosicontemporary /

Jon Plasse
The Stadium

April 9– April 19, 2014

Opening Reception: Wednesday, April 9, 6-9 pm

Bosi Contemporary is pleased to present The Stadium by Jon Plasse, a debut exhibition in New York City, featuring photographs of the original Yankee Stadium. The show’s emotionally charged images highlight Plasse’s frequent visits to Yankee Stadium in the last years of its existence and its demolition in 2009. Plasse returned to the site to photograph the current baseball diamonds that rest in the shadows of the new Yankee Stadium in 2013. The Stadium is a fitting tribute to one of baseball’s most storied icons, and the opening of the exhibition corresponds with the beginning of the 2014 baseball season.

The black and white photographs recall Plasse’s own childhood memories of going to Yankee games with his father and recreate these moments from a childlike perspective. These compositions include the perspective of a young fan looking up at the towering walls of the stadium; walking through the cavernous hallways and seeing the grass and infield dirt; waiting expectantly for one of his stars to hit his 500th home run; and leaving the stadium, eyes ground ward, after witnessing a loss by his team.

The images are both human and relatable and present the shared experience of going to a game. Plasse portrays intimate instances in which the Stadium often has a stillness to it; as noted by The New Yorker, Plasse’s “camera is focused less on the game itself and more on the atmosphere the game creates.”

Jon Plasse is a fine arts photographer, as well as a long time Yankee fan. His books include, “The Stadium,” a series of images of the original Yankee Stadium, published by SUNY Press in 2011; and, “The Light Remains,” a series of images of his mother and her Long Island home. A presentation of The Stadium was exhibited at Binghamton University in April 2013. Jon Plasse lives in New York City.

WORK intern /
New York City

I am looking to form a time bank system in order to pay down our student debt. This will begin as an online representation of the unpaid work we do through internships, volunteer jobs, and work that is not usually defined as work (i.e. baking cookies for your neighbors). What will begin as a conceptual project will evolve into something more groundbreaking where Sallie Mae and the federal government may start to see value in our work and accept our time as a form of currency to relieve our debt.

What I need:

- A group of collaborators
- A someone who knows how to build an open platform website like this one
- Help with publicity
- Help contacting organizations/businesses that would be willing to give "timedebt" credits to their unpaid workers
- Help figuring out how to get our creditors to accept these time credit payments as debt payments

BrianCarpenter /
santa barbara

If you mail me a sign I'll hold it near Traffic in Santa Barbara CA

27. Feb. 2014
Naomi Lange /

I am looking for someone with an understanding of nutrition who would be able to create a weekly meal plan. I am trying to eat a no sugar, no caffeine, no wheat, very low gluten, low grain diet and am finding that with so many projects on the go, I'm losing enthusiasm for coming up with simple, yet nutritious lunch and dinner options.

It may be a one off exercise, or a monthly or weekly role. I'm flexible. I also don't know how many hours specifically would be required. Let's discuss!

Many thanks!


Ciprian /
Brussels - Belgium

Let's say you're applying for a job and you're facing the dreaded 'cover letter'. In one tab of the Internet browser you have a list of job requirements/tasks and in the other you have an empty Google docs file. Now it's time to write the letter. But it has to be personalized to the job offer, in perfect English and it has to stand out from the 354 other letters. Also, you need to have a fairly good knowledge of the company that you're applying to. On top of that, there's one other obstacle: you hate writing.

This is where I come in. I am able to write creative texts that have a powerful impression on the reader. Furthermore, I can take a ready-made text and transform it to communicate its message more effectively, more persuasively, while being able to quickly research any subject and adapt my writing to the 'feel' of that subject.

I've written advertisements for TV, radio, print and online, college admission essays, cover letters, essays, poems and short stories. I even wrote creatively seducing text messages for some (anonymous) friends of mine to use on their night out. So, if you need somebody who breathes writing every day to take a look at your text, edit it, or create one from scratch, I'm your guy.

18. Feb. 2014
feldmangallery /
Ronald Feldman Fine Arts


Ritual and Reality

February 15 – March 22, 2014

Ronald Feldman Fine Arts presents photographer Yishay Garbasz in her first major New York solo exhibition. Working across themes of memory, history, separation, and healing, Garbasz consistently captures both the pain of injury and the desire for reconciliation through her camera lens. Previous bodies of work exploring her mother’s survival of a Holocaust death march and Garbasz’s own personal journey with gender identity exemplify this dichotomy of pain and beauty. Physical location, and the inextricable link to the events that take place there, plays a large role in Garbasz’s interests. She focuses on places that have been forgotten or abandoned and where the physical signs of pain are obscured.

In Ritual and Reality, we join Garbasz on her journey through Japan’s Fukushima Prefecture, where on March 11, 2011, the Fukushima Daiichi nuclear power plant was hit by a tsunami triggered by the Tohoku earthquake. The resulting catastrophic failure has become the largest nuclear incident since the 1986 Chernobyl disaster. Garbasz’s investigation into Fukushima continues her life-long quest to explore and document spaces that have gone through a serious trauma.

Over the course of three weeks, donning protective gear and a Geiger counter, Garbasz travelled the Fukushima Prefecture, predominantly on foot, photographing the abandoned towns that have been taken back by nature because humans have rendered them uninhabitable. By walking and documenting the actual landscape of this disaster, Garbasz makes visible all that was lost. An area that was once home to a population of roughly two million has been turned into a collection of ghost towns by a disaster that was largely preventable. Years of corporate and governmental cronyism led to ineffective and toothless regulatory bodies incapable or unwilling to deal with the dangers staring directly at them. It’s no surprise that the clean-up effort has also been marred by disinformation, ineptitude, and corruption. Her eerily beautiful videos, photographs, and audio recordings of the Exclusion Zone echo with a sense of loneliness and pain. The videos, which should be filled with the sounds of children going to school and adults commuting to work, are permeated only by the sounds of rustling winds, the occasional meowing of a stray cat, and the incessant beeping of a Geiger counter alerting us to the danger that will linger for decades.

Also on display will be photographs depicting the “temporary” housing that evacuees must now call home, as well as a series of images from Tokyo, the world’s largest metropolitan area which lies but 150 miles south west of Fukushima. One of Garbasz’s goals for this project is to highlight the human disaster that is taking place in Japan alongside the environmental one. Through her work Garbasz exposes the cultural attitudes that allowed this disaster to occur in the wake of a highly predictable natural catastrophe. As she sees it, the Fukushima disaster is rooted in many facets of the Japanese culture, as well as common behaviors in the nuclear industry worldwide, and she believes that the healing process must begin deep within the society that allowed these events to transpire. No longer can people afford to take comfort in what Garbasz keenly identifies as the ritual of safety, but they must now face the very real dangers and obstacles before them. The old status quo of denial and quick fixes will no longer suffice. One only has to look at the landscape, and the large piles of leaking bags containing radioactive materials, to understand that.

A press kit with more information can be found at:

Reception: Saturday, February 15, 6-8. Gallery hours are Tuesday - Saturday, 10-6. Monday by appointment. For more information, contact Varvara Mikushkina at (212) 226-3232 or

14. Feb. 2014
bosicontemporary /

Shony Rivnay

Curated by: Kathy Battista

March 4 – April 5, 2014

Opening Reception: March 4, 6-9 pm

BOSI Contemporary is pleased to present Soft Corps a solo exhibition by Israeli artist Shony Rivnay. Combining sculpture, photography, video, and painting, the exhibition reveals a unique body of work that simultaneously embraces beauty and the post-apocalyptic.

Living in one of the world’s most contested regions, Rivnay confronts topics such as conflict and the transforming power of love and beauty. Rivnay’s ongoing fascination with brands and logos is reflected in all of his works and derives from a successful career in advertising, an industry he left in 2008. His exploration of graphic languages manifests itself most conspicuously in the presence of pattern—from William Morris florals to geometric carpet design—throughout his work for the past thirty years. A series of pop-inflicted missile heads and sumptuously hand-crafted missiles on display in the gallery create a dream-like poetic reality. Photographs and a video produced in Israel convey a sense of universal human pathos and question the premise of violence, in particular the manmade autonomous kind, as seen in contemporary warfare. The works serve as a reminder of the devastation brought about by decades of conflict and become silent pleas for peace and understanding across cultures.

Shony Rivnay holds a BFA degree in Fine Arts from the prestigious Bezalel Academy of Art and Design in Jerusalem, Israel. He has had solo shows at numerous locations such as Temp Art Space gallery, NY, curated by Tim Goossens; Hamburger Bannhoff Museum Campus, Berlin, an official collateral event with the Berlin Biennale 2012; and Tavi Dresdner Gallery in Tel Aviv, among others. His works have been presented in group shows around the globe in venues such as Youkobo Art Space, Tokyo; Artlife for the World Gallery, Venice, Italy; Florentin 45 Contemporary Art Space, Tel Aviv, Israel; and at the Tel Aviv Museum of Art, Israel, and more. This year Rivnay will present solo shows at the CCJ Museum in Sao Paulo and at Baro Gallery, Sao Paulo, Brazil, as well as at Anat Ebgi Gallery in Los Angeles. Rivnay lives and works in Tel Aviv, Israel.

Thanosjsmir /
den haag

Hello timebakers!

My name is Thanos,
I have been living in Den Haag for some time now and my Dutch are really basic and I feel that now is the time to learn better this language. I had only the 1.1 Dutch course and I need someone to teach me some more useful Dutch and not only the very basic.
You can contact me through here with private message or reach me on my phone. 0687143137.













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