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The Decapitation of Money

Exhibition dates: June 05 – July 25, 2010

Opening reception: June 04, 2010, from 6 pm to 9 pm

An exhibition by Goldin+Senneby

With Angus Cameron (economic geographer) K.D. (fictional author)Anna Heymowska (set designer)Johan Hjerpe (graphic designer)

In parallel :Walk in the Marly Forestwith Angus Cameron Sunday, May 23

Opening hours :from Thursday to Sunday, from 2pm to 7pm,or by appointment.

Goldin+Senneby, Site visit: VTB Bank (EUROBANK), Paris, 2010

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page 3 Press release

page 4 Participants’ biographies

page 5 Parallel event

page 6/7 Goldin+Senneby’s biography page 8/10 Goldin+Senneby’s previous exhibitions and events

page 11/18 Goldin+Senneby’s selected press

page 19 Upcoming programme

PRESS KIT

/CONTENT

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The Decapitation of Money An exhibition by Goldin+Sennebywith Angus Cameron (economic geographer) K.D. (fictional author)Anna Heymowska (set designer)Johan Hjerpe (graphic designer)

In the exhibition, you are standing at the heart of a bicephalous space reflecting Goldin+Senneby’s main research led during their residency in Paris. Here, two historical events from the late 1930’s and early 50’s are confronted. In one of these spaces, you find yourself reading a map of the Marly forest where Georges Bataille’s secret society, “Acéphale”, was meeting around 1937 and notably celebrating Louis XVI’s regicide. A few years later, Georges Bataille wrote La Part maudite (1949). In this essay on economy, he describes a society of abundance and eternal excess where in return potlatch techniques and sacrifice were necessary forms of luxurious consumption.Nearly at the same time, in the early 1950’s at the very beginning of the Cold War, you are witnessing the emergence of Eurodollar, when Soviet and Chinese banks deposited dollars in Europe, in Paris at the BCEN (EUROBANK), known today as VTB Bank. Thus, the Dollar escaped the US financial, territorial jurisdiction and the very nature of money changed from a symbolic value to a virtual one. Money entered a new space of exteriority, beyond the control of the sovereign state. Money was decapitated.

These are facts. Facts that are deeply entangled in a fictional narrative entitled Looking for Headless, commissioned by artist duo Goldin+Senneby since 2007. In this detective story, involving a murder (by decapitation again), the narrator travels to the Bahamas looking for the offshore company called ‘Headless Ltd’. Looking for Headless is published as a ghost written serial novel based on raw material sent by the artists – correspondences, dossiers, tapes – and by the different artistic presentations of the project since 2007 in the form of conferences, lectures, videos or exhibitions. At the Kadist Art Foundation, Goldin+Senneby underline a tenuous but precise speculation: Is the emergence of the Eurodollar and the later offshore finance the exact void where money disappeared, performing a contemporary radical consumption announced by Bataille in La Part maudite? And if so, can ‘Headless Ltd’ be a contemporary incarnation of Bataille’s secret society of the same name, “Acéphale”? Are they just mere coincidences?

The artistic project Headless is an omnivorous structure, a multi-headed project in which artists Goldin+Senneby outsource its development to different characters in the novel and independent practitioners in reality: a ghostwriter, an economic geographer, a set designer, and even art institutions. Goldin+Senneby is the framework for collaboration between Swedish artists Simon Goldin and Jakob Senneby. Kadist Art Foundation is pleased to present their first solo exhibition in France.

The artists and Kadist Art Foundation would like to thank:Liubov Mokhnacheva, Georges Kobakhidzé, Patrick Moreau, Natalia Sinichkina, (VTB Bank France), Dominique Rabourdin, Christophe d’Astier, Giselle Durand, Pierre Nickler, vice-president and president of the association « Amis du vieux Marly», Camille Morando, Marina Galletti.

PRESS RELEASE

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Angus Cameron

Angus Cameron is an academic social scientist specializing in theories of state space. Currently working in the Geography Department at the University of Leicester, Cameron has higher degrees in Art History and International Relations and a PhD in International Political Economy. Cameron publishes on, amongst other things, social inclusion and exclusion, sovereignty, space, narrativity and performativity, critical empiricism, state theory and globalization. In addition to his involvement with Goldin+Senneby’s Headless project, Cameron is currently researching the historical role played by imagined ‘xenospaces’ in the constitution of contemporary capitalism and the nature and meaning of money.

K.D.

« K.D. has an unusual pedigree for a novelist. Her background is in offshore finance, having worked for many years as a client service manager for a major international trust-management company. This work has taken her to various parts of the world, some of them gloriously sun-kissed, fiscal paradises. This, again, is somewhat unusual for a novelist, but who better to write a murder-mystery set in the heady yet dark world of international finance? Apart from a sun tan, then, one of K.D.’s great virtues is the ability to tell the truth and to tell it dispassionately. She possesses an uncluttered mindset, unburdened by a writer’s self-fascination and that author-centricity from which so many of us suffer. She’s a true storyteller, and as with the best of them, she is in some ways little more than a conduit for that story. Given the insider info that years in the industry have given her, one could hardly imagine a better author of Looking for Headless. »— John Barlow

Anna Heymowska

Anna Heymowska is a set and costume designer educated at Dramatiska Institutet in Stockholm and Danmarks Designskole in Copenhagen. Since 2005 she is regularly contracted by most of the leading theaters in Sweden; including Dramaten, Stockholms stadsteater, Unga Klara, Riksteatern and Östgöta-teatern, as well as Norske Teatret, Oslo Nye teater and Riksteatret in Norway. Since 2008 she has been working with Goldin+Senneby, designing sets for a series of exhibitions within the Headless project.

Johan Hjerpe

Johan Hjerpe is a brand concept developer, art director and partner of his own brand development agency, Imaginarylife, specializing in communications solutions that offer prototypes for new business opportunities. He has been working with brand and design strategy for more than a decade, merging integrated media communications and product development for clients such as Electrolux, Iittala, Bang & Olufsen and Yale locks, among others. Hjerpe is also highly active within the cultural field, driving projects as diverse as designing prints and fabrics for fashion, set design for magazine editorials, magazine art direction, graphic design and concept development for various art, fashion and design initiatives. Johan Hjerpe has been responsible for graphic design and illustration throughout Goldin+Senneby’s Headless project.

Participants’ biographies

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Preceding the exhibition opening, Goldin+Senneby will organise a walk in the Marly Forest with economic geographer, Dr Angus Cameron, who acts as spokesperson/emissary of the artist duo. Angus Cameron will retrace the orgins of the decapitation of money since the 18th century, while searching for the tree struck by lightning around which the secret society of Georges Bataille, «Acéphale», used to gather.

« To read several times, in the most precise way and keep in memory:

go to the railway station of Saint-Nom-la-Bretèche - Forest of Marly

on Sunday, May 23rd at 3:15 pm

For this, go to the Saint-Lazare railway station and purchase a round-trip ticket

The train is at 2.33 pm. »

Parallel Event A walk in the Marly Forest with Angus Cameron

Sunday, May 23, 3:15 pm

Goldin+Senneby, Site visit: Forêt de Marly, les Yvelines, 2010

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Meeting point on the platform To get there by train : Leaving from:Paris-Gare Saint-Lazare to Saint-Nom-la-Bretèche departure: Train leaving at 2:33 pm arrival at 3:12 pm, Saint-Nom-la-Bretèche Suggested return: Train leaving at 5:22 pm arrival at 6:00 pm, Paris Saint-Lazare (there is a train every half an hour) http://www.transilien.com

KADISTARTFOUNDATION 19 bis - 21 rue des Trois Frères - 75018 Paris - France - tel. / fax : +33 (0)1 42 51 83 49 - www.kadist.org / contact@kadist.org

Solo exhibitions:

2009 Headless. From the Public Record, cur. by Mats Stjernstedt & Helena Holmberg, Index, Stockholm2008-2009 Goldin+Senneby: Headless, cur. by Gregory Burke, The Power Plant, Toronto

Group exhibitions and events (selection): 2010 Uneven geographies, cur. by Alex Farquharson & T.J. Demos, Nottingham ContempraryBucharest Biennale 4, cur. by Felix Vogel, BucharestLes Ateliers de Rennes, cur. by Raphaële Jeune, RennesThe Headless Conference, arranged by Brian Droitcour & Ginny Kollak, New Museum, New YorkThe Office for Parafictional Research, cur. by Ginny Kollak, CCS Bard, Annandale-on-Hudson2009 The Malady of Writing, cur. by Chus Martínez, MACBA, BarcelonaFeedforward: The Angel of History, cur. by Christiane Paul & Steve Dietz, LABoral, GijonFlexible Aura, cur. by Hyunjoo Byeon & Christine Takengny, Brain Factory, SeoulIs a book, is a shop, is a show, curated by Maja Wismer & Egija Inzule, Survival Kit, LCCA, RigaVoice Over, book launch, Iaspis in VeniceThe Man behind the Curtain, Mission 17, San FranciscoTINA, conceived by Olivia Plender, Hatton Gallery, Newcastle2008 28th Bienal de Sao Paulo, cur. by Ivo Mesquita & Ana Paula Cohen, Sao PauloTINA, conceived by Olivia Plender, The Drawing Room, LondonReality Effects, cur. by Caroline Ugelstad & Tone Hansen, Henie Onstad Kunstsenter, OsloData Recovery, cur. by Ovul Durmusoglu, Gamec, Bergamoerms of Use, cur. by Lisa Rosedahl, Centro Cultural Montehermoso, Vitoria-GasteizDisclosures, Gasworks, LondonJohn Barlow Gone Offshore, Canal, LondonManual (CC), CSW Centre for Contemporary Art, WarsawMyComputer, 300m3 Art Space, GothenburgLooks Conceptual, cur. by Kiki Mazzucchelli, Galeria Vermelho, Sao Paolo2007 Who Makes and Owns Your Work, Årsta Folkets Hus, StockholmTwentyfourseven, Signal, MalmöBig Family Business, cur. by Adnan Yildiz, IstanbulParis was yesterday, cur. by Hanne Mugaas, La Vitrine, Paris2006Gala Night of the Cannibals, Jan van Eyck Institute, Maastricht2005Artport, Whitney Museum of American Art, cur. Christiane Paul, New YorkGame Dump, Bergen Kunsthall, Bergen

Commissions:

2010 Lot 36: Fiction on Auction, Offer & Exchange #4, Electra, cur.by Lisa Rosendahl & Daniel McClean, Chrisites, London2009 Shifting Ground, Mountains of Butter, Lakes of Wine, Almost Real Stage 5, cur. Maria Lind, European Cultural Foundation

Goldin+Senneby’s biography

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Publications:

2009 “Franz Fischler, I pressume…” in Aprior #19 Goldin+Senneby: Headless (monograph), Power Plant, Idea books“Anywhere you aren’t” by Sebastian Mary in Voice Over, Iaspis & Sternberg Press2008 “Em busca de uma história” by K.D., 28b newspaper, 28th Bienal de Sao PauloLooking for Headless by K.D., prologue - chapter 4, 28th Bienal de Sao PauloTravel Journal, Nassau, Bahamas by John Barlow, BergamoLooking for Headless by K.D., chapter 1, Vitoria-Gasteiz “Objects of Virtual Desire” featured in Digital Art (2008 edition) by Christiane Paul, Thames & Hudson, Lon-don “The Tetris Effect” in calendar insert, Opcje Magazine, Katowice2007 “The Tetris Effect” in Manual CC, Bytom “After Microsoft” Artist Project (inside cover) in Untitled Magazine #43, LondonLooking for Headless by K.D., Prologue, Stockholm2006 “Inneslutning & entusiasm” in UKS - Forum for Samtidskunst, nr. 3/4 2006, OsloFlack Attack, Print-on-Demand magazine

artists’ website : www.goldinsenneby.com

Looking for Headless by K.D., prologue - chapter 4, 2008

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Previous Exhibitions

Headless. From the Public Record curated by Mats Stjernstedt & Helena Holmberg

Index, Stockholm2009

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Goldin+Senneby: Headlesscurated by Gregory BurkeThe Power Plant, Toronto

2008-2009

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Angus Cameron, stills from artist talk on behalf of Goldin+Senneby Les artistes sans têtes: Multitext, Xenomoney, XenospaceThe Power Plant, Toronto, 2008See the entire video on the artists’ website: http://www.goldinsenneby.com/gs/?p=103

Gone Offshore: John Barlow in conversation with curator Övül Durmusoglu

on May 29th 2008, for the exhibition Data Recovery, GAMeC, Bergamo

set design by Anna Heymowska See excerpt of the video on the artists’ website :

http://www.goldinsenneby.com/gs/?p=106

Fiction on Auction, 2010This is a conceptual artwork, which was sold at Christie’s on March 25th. The buyer of the lot acquired the right to appear as a named character in their forthcoming novel, Looking for Headless. A pre-sale presentation of the work was given by an art-sociologist, Sarah Thornton. See the video :http://www.christies.com/features/2010-march-goldin-senneby-fiction-on-auction-478-3.aspx

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Previous events

excerpt from the page of Christies’ catalogue

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Selected Press

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Author: Blake Gopnik

12.13.08-02.22.09

The Power Plant Contemporary Art Gallery

Headless, an ongoing project begun in 2007 by Goldin+Senneby, the

collaborative identity––or perhaps corporate avatar––of Swedish artists

Simon Goldin and Jakob Senneby, is about the obfuscations and misdirections of offshore business. It treats its subject perfectly:

Headless is a stunning tangle of obfuscation and misdirection. The work

consists of pedagogical texts and “archival” documents installed in one room and a documentary video projected in another. It purports to

investigate an offshore finance company called Headless Ltd., nominally

headquartered in the Bahamas. Although it looks as though that company

itself is fiction, since it too conveniently recalls Acéphale, the secret society founded by Georges Bataille in the 1930s, its details are

so convincing that viewers are never absolutely certain of this fact.

The firm could just as easily be the artists’ real-world inspiration as their ab nihilo creation.

The video, outsourced to the ostensibly real documentarians Kate Cooper and Richard John Jones, looks set to clear things up: It enlists experts

to explain the nature of offshore finance and how its elusive creations,

such as Headless, might be investigated. And yet for all its “straight”

affect, the documentary is built around as many loop-backs and false leads as any corporate shell. When Cooper and Jones interview a

seemingly authentic novelist writing on the subject of offshoring, for

instance, it turns out that his fellow talking heads are characters in his novel, with even their most trivial on-screen gestures described in

the book’s narration.

The project’s archival and pedagogical component––again supposedly outsourced to independent contractors––is equally bedeviling and

beguiling. A wall text notes that one expert in the video is an economic

geographer “currently researching the historical role played by imagined ‘xenospaces’ in the constitution of contemporary capitalism”––and in the

contemporary art of Goldin+Senneby, it might have added. Headless could

be taken as a perfect example of postmodern, poststructuralist play, calling into question all claims about reality. On the other hand,

Headless is almost a model of stable semiotics, with a shifting form

that recapitulates its shifting subject matter.

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December 9, 2005

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vendredi 9 décembre 2005 Libération digitales IX

construit le premier mé-morial virtuel à l’intérieurd’un MMORPG pour honorersa mémoire, un petit templevisité par des milliers dejoueurs qui laissent des fleurset des hommages, «c’était trèstouchant, mon cœur et mon es-prit étaient désormais ancrésdans ce sol virtuel». Neverdiecontinue de se loger avec lepseudo de son amour disparu:«Je lui ai acheté un bout de ter-rain, j’essaie de la garder en viedans PE». Immobilier virtuel.Lorsque Pro-ject Entropiamet aux enchèrespubliques la station spatiale,Neverdie est décidé à ne paslouper le coche. Mais, cette fois,ce sont les éléments qui se li-guent contre lui. Alors qu’il estdevant son ordinateur à Miamien Floride, l’ouragan Wilmamenace. Impensable de ris-quer de perdre l’enchère pourun mauvais coup de vent. Dèsles premières heures de la ma-tinée, il met la barre au maxi-mum, un million de PED (lamonnaie de Project Entropia,soit 100000 dollars), appuiesans hésiter sur «acheter» jus-te avant qu’un arbre tombedans son jardin et coupe le cou-rant. «C’est un bien immobiliervirtuel extraordinaire, le poten-tiel de revenus est énorme.»Rien que les taxes sur la chasseet l’extraction minière de-vraient lui rapporter selon sescalculs (sur la base de100 joueurs par heure) au

moins 2400 dollars par jour«Je ne suis pas un chasseur ouun artisan, ce sont les citoyensqui travaillent dur dans lesmondes virtuels. Je suis très oc-cupé dans ma vie réelle, je n’aipas le temps de chasser sixheures d’affilée.»Son nouveaustatut de propriétaire devraitlui assurer un revenu des pluscorrects. Ambitions. Dès le lendemain,il s’est vu proposer le rachat desa station pour le double du

montant. Mais il refuse caté-goriquement de vendre sonastéroïde qu’il a baptisé offi-ciellement Club Neverdie.Car Neverdie a de grandesambitions pour sa station spa-tiale. Il promet d’en faire «leplus génial night-club virtuelde l’univers» avec de la mu-sique streamée en live24 heures sur 24, 7 jours sur 7.Ceux qui ne sont pas inscrits àProject Entropiapourront euxaussi en profiter en se connec-

tant directement sur Clubne-verdie.com. Il leur suffira decréer leur avatar et de débou-ler directement sur le dance-floor où ils pourront draguer,chater, danser. «On pourra ga-gner le nouveau CD de son DJfavori, trouver des pass VIP»,développe Neverdie, chasserdes monstres dans les bio-dômes ou se payer une viréeen navette spatiale, toujoursau son de la musique diffuséedans toute la station. «Ça coû-

terait 10millions de dollars deconstruire un club pareil à par-tir de rien. Mais, même dans cecas, il n’aurait pas le même po-tentiel parce qu’il n’existeraitpas dans un univers virtuel oùil y a des centaines de milliersde gens à divertir.»Lui s’est entouré d’une équipe,a passé un accord avec unautre club en ligne (www.the-womb.com) pour proposer del’audio et de la vidéo. «Je suis entrain de démarcher les diffu-

seurs live,j’espère pouvoir boo-ker au moins une fois par se-maine un gros DJ, inviter les la-bels et artistes indépendantspour y promouvoir leur mu-sique.» Neverdie sait que lesmaisons de disques sur-veillent son projet. «Le clubpermettra à l’industrie du loisirde se faire une place dans cesmondes virtuels et d’adapterleur offre.» Neverdie prépareactivement le line-up de lagrosse soirée d’ouverture duClub prévue pour début jan-vier. «Les DJ pourront jouer de-puis chez eux ou même d’un hô-tel s’ils sont en tournée. J’aidiscuté avec Junior Jack, l’unde mes DJ de house favori, j’enai parlé à Tiësto pour la soiréed’ouverture, je suis en contactavec Ferry Corsten et Carl Cox,ils étaient tous dans mon filmHey DJ!, je pense que, pour lelancement, j’aurais l’un des dixmeilleurs DJ du monde.» Unclub qui sera dédié à IslandGirl. On y jouera souvent sonhit ultime, To the Club.•

M.L.

(1) Pas besoin d’abonnementpour explorer la planète Calypso.S’il veut s’équiper, acheter desarmes, un terrain, le joueur doitsortir la carte bancaire. Lamonnaie réelle (euros oudollars), injectée via l’interfacede paiement, est convertie enPED (project entropia dollar)avec un change fixe, 10 PED pourun dollar. A tout moment, les340000 inscrits peuventreconvertir les PED gagnés dansle jeu en euros ou en dollars.

Pour fêter leurs trois mois de romance,Jade Lily a confectionné un collierqu’elle a offert à son partenaire, un ras du cou avec pour ornement lesymbole <3 >qu’ils utilisent lorsqu’ils

«chattent» en amoureux (les deux premiers caractèresforment un cœur qui pointe vers un autre). Cebijou virtuel n’existait alors que dans lemonde en ligne Second Life, deux artistesde Stockholm, Jakob Senneby et SimonGoldin le matérialisent dans leurprojet Objects of virtual desire.D’où vient cet intérêt pour lesunivers en ligne et Second Lifeen particulier?Notre point de départ étaitl’émergence d’économies formaliséeset de sociétés de plus en pluscomplexes dans les univers en ligne. Ona choisi le jeu Second Lifecomme plate-forme parce que la narration n’y occupe pasune place prépondérante – il s’agit plus d’un endroitque d’un jeu – et aussi parce que Second Lifeest unmonde en 3D créé entièrement par les joueurs qui ontà leur disposition des outils de construction et deprogrammation. Et, plus intéressant encore, lesutilisateurs possèdent la propriété intellectuelle desobjets fabriqués, ce qui stimule la créativité.Comment avez-vous sélectionné les objets?Nous avons demandé à nos amisavatars quel était l’objet le plusimportant qu’ils possédaientdans Second Life. Ils nous ontdécrit leur rapport sentimentalavec l’objet, et nous les avons

choisissur la base de ces histoires (à lire sur le site,ndlr). Tous les Objects of virtual desireont été créés pardes avatars et ont une valeur émotionnelle. On acommencé par faire des prototypes en 3D. Seuls deuxd’entre eux ont été réellement fabriqués pour l’instant:le collier de Jade Lily, en argent oxydé avec des pierres

précieuses rouges, confectionné par un créateurde bijou suédois, et les Penguin Balls (des

balles translucides avec un pingouin àl’intérieur, un jeu créé par l’avatar

Cubey Terra), ballons gonflables dedeux mètres de diamètre ont étéfabriqués à Taiwan (photo).L’idéede voir leur objet prendre uneforme physique excitait beaucouples joueurs. C’était comme si ça

donnait une sorte de légitimité àleur affection pour ces objets

immatériels. Dans l’un des cas, lapropriétaire originale a été tellement

touchée par cette matérialisation d’un objetsi personnel qu’elle ne pouvait se résigner à l’idée de

le vendre, pas même comme une pièce d’art uniquePourquoi cette idée de matérialiser l’immatériel?Ces dernières années, une grande attention a étéportée à la croissance des économies dans les mondesen ligne, à la vente et à l’achat de biens virtuels. Nousvoulions regarder de plus près ce qu’étaient ces biensimmatériels. En quoi avaient-ils de la valeur? Cette

valeur pouvait-elle êtretransposée de la sphèreimmatérielle au monde physique?Ces questions sont pertinentesdans un contexte plus vaste: laproduction de valeur dans notre

économie postfordiste est devenue de plus en plusimmatérielle.Même si nous achetons des objetsfonctionnels (des habits, des voitures), nous payonssurtout pour les valeurs intangibles de ces objets(marques, brevets). Nike par exemple exploite lafonction physique de la chaussure pour créer et vendredes valeurs immatérielles, tellement envahissantesque la chaussure elle-même devient quasi virtuelle. Ces objets ont-ils un sens dans la vraie vie?Les productions dans Second Lifeauront toujours dusens dans le monde réel, parce que tout dans le jeu estcréé par de vrais gens qui ont de vrais sentimentsattachés à leurs créations. Toutefois, les reproductionsmatérielles de ces objets virtuels ne pourront jamaisavoir la même utilité que dans le jeu. Détachés de leurcontexte, ils deviennent des représentations d’unefonction dans la sphère immatérielle (comme cedélicat collier que ne pourrait porter Jade dans la vraievie, où elle est un homme, ndlr). En se matérialisant,ces objets deviennent bizarrement virtuels.Ce projet s’inscrit dans un cadre plus vaste deThe Port? De quoi s’agit-il?The Port, qu’on a lancé en 2004, est un endroit et unecommunauté à l’intérieur du jeu en ligne Second Life.Dans cet îlot virtuel, accessible à tous, se réunissentrégulièrement une cinquantaine d’artistes, architectes,chercheurs, programmeurs. Les projets expérimentauxqu’on développe incluent de la musique en live, desconférences, des expos, de la télé. En décembre, on yorganise des réunions pour créer un magazinecollaboratif, Flack Attack, sur le thème del’autonomie, qui sera imprimé en janvier2006,présenté en ce moment sur le portail Net-art duWhitney Museum à New York.•

Recueilli par MARIE LECHNER

L’un des biodômes de la station spatiale dans lesquels les joueurs pourront chasser des monstres et écouter de la musique live.

DR

www.objectsofvirtualdesire.comhttp://www.theport.tv http://artport.whitney.orghttp://secondlife.com

JAKOB SENNEBY ET SIMON GOLDIN ONT MATÉRIALISÉ LES «OBJECTS OF VIRTUAL DESIRE»

� � �

Oùest la valeurd’un bien virtuel ?

KADISTARTFOUNDATION 19 bis - 21 rue des Trois Frères - 75018 Paris - France - tel. / fax : +33 (0)1 42 51 83 49 - www.kadist.org / contact@kadist.org

Parallel Events Artist talk given by Angus Cameron on behalf of Goldin+Senneby, in the framework of the seminar «Something you should know» May, 19 - 7 pm at the EHESS - Salle Lombard, 96 Bd Raspail - 75006 Paris

A walk in the Marly Forest with Angus CameronSunday, May 23 - 3:15 pm Meeting point on the platform To get there by train: leaving from: Paris, Gare Saint-Lazare to Saint-Nom-la-Bretèche Departure: Train leaving at 2:33 pm - arrival at 3:12 pm, Saint-Nom-la-Bretèche Suggested return: Train leaving at 5:22 pm - arrival at 6:00 pm, Paris Saint-Lazare (there is a train every half an hour) http://www.transilien.com

Upcoming Programme

Upcoming exhibition:

L’exposition Lunatique, A View on the Collection curated by Rozenn Prat, member of the committee of the Foundation.

from October 1 to November 14, 2010

Upcoming residencies:

Curator in residency:From September, 2010 : Dougal PhillipsBorn in 1978, Dougal Phillips is a writer, lecturer, and curator. He is co-director and curator of Chalk Horse gallery in Sydney. Since 2008, he is public program and education manager of the Biennale of Sydney. He has published articles on contemporary art, digital culture, media and politics in journals in Australia and internationally.

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Kadist Art Foundation

Kadist Art Foundation is a private foundation initiated in 2001. It is dedicated to promoting contem-porary art through the constitution of an art collection and the organization of exhibitions and re-sidencies in its space in Paris. Kadist’s intention is to be actively involved in the promotion and international dimension of contemporary art.

The collection brings together international artists and contemporary works of all mediums. It is the seminal point of involvement with artists that can thereafter expand to a residency and exhibition project.

The residencies are open to international artists and curators, invited to spend four to six months in Paris leading to an exhibition project at the Foundation. A flat, a workshop place and an allowance are provided to the resident by the Foundation.

By means of these various programs, Kadist manifests its support to a group of artists who define together its artistic identity.