the time I went to Vienna and met Brad Downey by Natalie Fasano

Are we that insensible of our urban environment, to the presence of unexpected beauty, that we don’t notice two guys installing pregnant stop signs in broad daylight?

I met Brad Downey in Vienna, March 2010 when he was a resident artist at the Museums Quartier, WEIN, one of the largest and most forward thinking museums of contemporary art in the world.  Although it was over a year ago, I have never forgotten the impression his work left on me. As conversation on art has once again steered itself back onto the streets and into street art, grafitti art, graffiti un-art and everything related, I have found myself thinking of Brad Downey’s work and our meeting often. Nostalgia. Street art is and always has been a touchy subject. For some, it is an indication of youth and society in decline. For others, it heralds the dawn of a new and more enlightened age, an anti-capitalistic utopia in which the traditional conventions of private property, ownership and social responsibility crumble in the pursuit of a more enlightened and inclusive model.

Downey’s work was the first to reconcile my mind to the concept of street art as “art.” I never understood how a person could simply create something only to give away, to just leave a work of art on an unnamed street for a wayward pedestrian to either appropriate for him or her self, destroy, or simply ignore. Downey’s urban installations breathe life into the static signposts of everday urban life; a man made of the day’s detritus spews from a public trash bin, a black stenciled pedestrian tumbles from the heights of his yield sign, and the stop sign you pass by every day is unexpectedly expecting. All of these pieces silently spring from the day lit city streets, often going unnoticed by older passers by too intent on moving forward, seeing only what they expect to see than what is actually there—to Downey’s deep chagrin. “As a public,” Downey writes on his site, “we are acclimatized to these signs and beacons, and their subtle manipulation and proliferation can go undetected…by wider awareness of these controls, [the] viewing public will gain greater understanding of his own urban and social situation.”

I recall seeing images of his work, and feeling startled, stunned, at their effect.  I recall entering his residence and seeing three objects: a large poster laying on the floor—”I FORGOT WHAT I WAS GOING TO SAY”—, an off-white photo collage cum sculpture constructed of pages from VICE magazine and an immense stainless steel “tower” reminiscent of Brancusi’s “Endless Column,” upended beside his desk.

And then I recall Downey informing me of what I really saw, with an activity of speech and expression that betrayed a brilliant mind. The “poster” was Downey’s concept for a commissioned advertisement: “I liked the idea of having nothing to say;” the ceramic sculpture was a paper collage, cemented together with copious amounts of clear tape that Downey found on the streets of Vienna: “I don’t know who made it.  I don’t care.  I try to challenge myself with bullshit street things… an object with no author becomes mine.”  And the “Endless Column?” Ashtrays, stacked upon one another and filled with sand and cigarettes: “Brancusi represented Heaven and Earth, the connection between the Spiritual and the Physical world. I throw the ashtrays in a pile, it’s like the body of an artist within his work, but this one is dead.”

It’s time to resurrect the ghosts of memory; hello again, Brad Downey.

-NR

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RAUMKONTROLLE

RAUMKONTROLLE
Ein Screening mit Arbeiten von:
Adams/E.B. Itso, Nevin Aladağ, Fabian Bechtle, Guy Ben-Ner ,Marc Bijl, Fernando Sanchez Castillo, Brad Downey, VALIE EXPORT, Andrea Fraser, Niklas Goldbach, Judith Hopf, IEPE, Christian Jankowski, William E. Jones, NUG, Corinna Schnitt, Santiago Sierra, Clemens von Wedemeyer, Matthias Wermke/Mischa Leinkauf und Ming Wong
Kuratiert von Lutz Henke und Viktor Neuman
Das Screening findet im Rahmen der Konferenz „Kontrolle des urbanen Raumes. Akteure, Strategien, Topographien.“ an der Humboldt-Universität zu Berlin statt. Weitere Informationen unter www.Raumkontrolle.wordpress.de

 

Mittwoch, 29.06.2011, 20:00 Uhr
Maxim Gorki Theater – Studiobühne
Hinter dem Gießhaus 2, 10117 Berlin

 

Eintritt frei

Kunstkörperlich-Körperkünstlich 3, Bodies

Vom 18. Juni bis 18. September wird in der Kunsthalle Dominikanerkirche Osnabrück die Ausstellung “Kunstkörperlich-Körperkünstlich 3, Bodies” gezeigt.

Das Thema der dreiteiligen, im Jahr 2006 begonnenen Ausstellungsreihe ist die Körperwahrnehmung beziehungsweise das moderne Körperbild in den Konzepten aktueller Objekt- und Installationskunst.

Seit den 1960er Jahren hat die dreidimensionale Kunst durch die Erweiterung des Skulpturenbegriffs neue Anstöße erfahren. Auch das Aufbrechen gesellschaftlicher Tabuthemen wie Sexualität und Gewalt in den 1960er und 1970er Jahren in den USA und in Europa hat zu Neuinterpretationen des Menschenbildes beigetragen. Und schließlich wurden Künstler, die sich mit dem Sujet des Menschenbildes beschäftigen, auch durch die Auseinandersetzung mit Wissenschaft und Medizin, der internationalen Modekultur, der Werbung, den Massenmedien und dem Film mit seinen Spezial-Effekt-Möglichkeiten inspiriert. Neue Entwicklungen und aktuelle Kunstäußerungen zum Thema sind unter anderem durch Künstler wie Vanessa Beecroft, Damian Hirst oder Marc Quinn angestoßen worden.

Das Interesse von Objekt- und Installationskünstlern an neuen Werkstoffen und an Materialexperimenten hat dazu geführt, dass verstärkt mit chemischen (Kunst-)Stoffen oder beispielsweise auch mit Substanzen, die im Bereich der Illusionstechniken der Filmindustrie Verwendung finden, gearbeitet wird.

So breit gefasst die Experimente mit neuen Materialien sind, so komplex sind auch die Ausdrucksmöglichkeiten und Themen zu den verschiedenen Aspekten der Körperlichkeit.

An aussagekräftigen Beispielen von Künstlerinnen und Künstlern aus den USA, Asien und Europa ist diese neue Entwicklung in der Kunst bereits in zwei Ausstellungsprojekten der Osnabrücker Kunsthalle (2006, 2008) vorgestellt worden. Dabei haben die Künstler in aktuellen Arbeiten Widersprüche der modernen Leistungsgesellschaft und ihre Konsum- und Unterhaltungskultur in den Fokus genommen und politische, gesellschaftliche Verwerfungen und moralische Defekte thematisiert.

Folgende Künstlerinnen und Künstlern sind in der Ausstellung vertreten: Vanessa Beecroft, Heinrich Brummack, Baldur Burwitz, Gildas Coudrais, Wim Delvoye, Birgit Dieker, Brad Downey, Gregor Gaida, Peter Gilles, Till F. E. Haupt, Barbara Heinisch, Damian Hirst, John Isaacs, Marc Jenkins, Franticek Klossner, Clemens Krauss, Sherrie Levine, MARCK, Max Mohr, Gianni Motti, Orlan, Mark Quinn, Deborah Sengl, Daniel Spoerri, Yukiko Terada, Nikola Torke und Erwin Wurm.

THE 30 Gallery_Prague

concrete tent

http://www.bbc.co.uk/news/technology-13430747

Wuppertal. …

Participating artists: Ash, Herbert Baglione, Boxi, Brad Downey, Ben Eine, Faith47, Boris Hoppek, Mark Jenkins, JR, Os Gêmeos, Mirko Reisser (DAIM), Swoon, Zezão

Curated by Rik Reinking

KØS_museum of art in the public space. May 7th to September, 2011

http://www.koes.dk

http://www.koes.dk

http://www.koes.dk

check the site for information.  Akay and Brad will be working together on a series of works. These will be installed in a cabin in the city of Koege not far from the museum.

ART AND AGENDA _____BOOK

ArtandAgenda_press_Cover

Contributors include established artists such as Ai Weiwei, Elmgreen & Dragset, Fernando Bryce, Gregor Schneider, Hank Willis Thomas, Jennifer Karady, Jota Castro, Marina Abramovic, Maurizio Cattelan, Milica Tomic, Paul McCarthy, Santiago Sierra, William Kentridge, and Zhang Huan as well as newer talent such as Aram Bartholl, Brad Downey, JR, Shepard Fairey, Swoon, Voina Group, The WA, YesMen, and Ztohoven.

“Wilde Zeichen”- Forum Frohner_ Kunsthalle Krems

27. März 2011 bis 29. Mai 2011

Graffiti definieren den Stadtraum als kollektives Territorium, um Bildbotschaften, Slogans und Nachrichten auszutauschen. Hierbei werden Hausfassaden, U-Bahn-Züge oder frei gegebene “City Walls” zu mobilen und temporären Plattformen, die in der Grauzone der Legalität eine urbane Gegenkultur darstellen.

Den “Aufstand der Zeichen”, wie Jean Baudrillard das Phäno-men Graffiti in den 1970er Jahren bezeichnet hatte, fand auch Eingang in der zeitgenössischen Kunst. Die Ausstellung untersucht Strategien der Aneignung des autokreativen Potentials der Straße und zeigt Arbeiten aus den 1960er Jahren bis heute.

In der Gegenüberstellung von bildenden und Graffiti-Künstlern präsentiert die Schau die Schnittmenge beider Bildproduktionen, die die Grenzen zwischen Illegalität, Stadtraum und White Cube genauso fließend wie kritisch reflektieren.

Ausgehend von Adolf Frohner (1934-2007) der sich als Stadtwanderer seit den 1970er Jahren in Wien regelmäßig auf die Suche nach jeglichen Straßenzeichnungen machte, werden Arbeiten von Brassaï, Ovidiu Anton, Paul Busk, Martha Cooper, Brad Downey, Ben Eine, Adolf Frohner, Gilbert & George, Richard Hambleton und AVANT-Künstlerkollektive, Marlene Hausegger, JR, Imi Knoebel/Gerry Schum und Blinky Palermo, Os Gêmeos, Rudolf Stingel, TILT,  Christine Würmell, Heiko Zahlmann und Zezão gezeigt.

Kurator(inn)en: Karin Pernegger, Dieter Ronte

Cuadro Dubai

for further information … special thanks Adam Hardy

http://www.cuadroart.com/en/artists/downey-brad.html

Museum of Contemporary Art Roskilde

EXHIBITION: WHAT IS CONTEMPORARY ART?
COME TO OUR OPEN HOUSE AND FIND THE ANSWER!

Opening: Friday, March 11th 4-6pm (free admission)
Exhibition period: March 12th – June 5th 2011

Museum of Contemporary Art, Staendertorvet 3A, 4000 Roskilde
Opening hours: Tuesday – Friday 11am – 5pm, Saturday – Sunday 12am – 4pm

Artists at the exhibition: Ann Lislegaard, Henning Christiansen, Larissa Sansour, William Anastasi, Eric Andersen, Su-Mei Tse, Yoko Ono, Festival of Fantastics, Henrik Have, Joe Jones, Brad Downey, Nam June Paik, Nanna Debois Buhl, Chamber of Public Secrets, among others.

Event during the exhibition: As a new initiative in 2011, the Friends of the museum, Klub samtidskunst, arrange a Sunday cafe on May 15th at 2pmwith a guided tour, coffee, and dialogue about the exhibition. Members free, non-members only normal entrance fee.

The Museum of Contemporary Art often gets the question, What is contemporary art? We will be trying to answer with this exhibition, where the museum displays its collection of artworks and archival material.

Since the Museum of Contemporary Art was founded in 1991, we have collected the innovative contemporary art. That means art inspired by the many new art forms that emerged in the 1960s and which later evolved in many directions. The exhibition displays new and old works by Danish and foreign artists. It is art that does not meet traditional expectations about what art is. It is art that breaks boundaries, surprises and can provide new experiences. Contemporary art ranges from the “geeky” to the riveting, from the simple to the narrative, from the ugly to the beautiful, from paper to space, from sound to movement.

For further information and images:
Contact: Museum Director Sanne Kofod Olsen: sannekol@samtidskunst.dk, phone +45 46 31 65 70
Press images can be downloaded from the museum website www.samtidskunst.dk/presse

Voina-Group- <3

BRAD DOWNEY PORTRAIT BY VHILS

thanks  ALEX .. this is great. :)… made for the crono festival.. more of his amazing work here. http://alexandrefarto.com/

CRONO FESTIVAL / BRAD DOWNEY IN LISBOA PORTUGAL

http://cargocollective.com/crono

http://cargocollective.com/crono

“I Don’t Need Your Money Honey All I Need is Love”

slide show
I Don’t Need Your Money Honey All I Need is Love
– Works from The Farook Collection
James Clar, Brad Downey, Rania Ezzat, Amir H. Fallah, Jonathan Gent, Abdulnasser Gharem, Dan Graham, Wang Guangyi, Mona Hatoum, Damien Hirst, Jenny Holzer, Maitha Huraiz, Hayv Kahraman, Jitish Kallat, Charles Krafft, Tim Lewis, Polly Morgan, Leila Pazooki, Sam Taylor Wood, Gavin Turk, Andy Warhol
5 Jan, 2010 – 27 Jan, 2011
Traffic, Gallery II

The love of art is the true impetus of collecting. It is not the monetary worth but the intrinsic value of art that speaks to the heart. When it comes to art for art’s sake, there are no rules. Be it a high calibre or an emerging artist, an original or an edition, acquired by a long-time or entry-level collector, if a work of art speaks to us on an emotional level, if it uplifts us, makes us think, feel or react, it has won us over.

Bringing together a range of works in their different mediums by emerging & established artists alike, “I Don’t Need Your Money Honey All I Need is Love”, is an ode to love in all its forms, and a hats off to those who buy with their hearts. The show demonstrates the visceral reward of collecting different art forms by varying levels of artists and the beauty in which these pieces come together.

If this exhibition engages collectors and in any way helps foster the maturity of a healthy collecting system, then it has achieved its goal.

for more info … http://www.viatraffic.org/index.php?page=i-dont-need-your-money-honey-all-i-need-is-love