Gallery News

Jorge Mendez Blake: Nao de China


Nao de China

Jorge Méndez Blake

This book is a close collaboration between artist Jorge Méndez Blake (Guadalajara, 1974) and Rodrigo Ortiz Monasterio (Mexico City, 1985) in our mutual interest on unfinished novels, libraries and the connections that can be made between literature and architecture. Nao de China (China Boat) takes as a departure point Jose Juan Tablada’s (Mexico City, 1871-1945) writings, seeking the missing connections in order to produce a series of encounters and perspectives into Tablada’s literature. By unraveling Tablada’s oeuvre, imagining his lost or unfinished works, this book attempts to give contemporary interpretations of some of the seminar themes in his work: Orientalism, the relation between literature and visual arts, and the creation of national identity through art and architecture.

How to interpret Jose Juan Tablada’s work? Can we analyze Tablada’s work separately? Do we attempt to read through the scope of his multifaceted persona, via his poetry, drawings, incomplete novel(s), as a librarian, art-critic, and amateur biologist…? This publication focuses on Tablada’s two books of haikus; the destroyed manuscript of his novel Nao de China and his only published novel La resurreccion de los ídolos (1924).

Fiona Banner: Font at Frith Street Gallery London

Image of: Untitled

Fiona Banner: Font

18 September - 31 October 2015

Private View: Thursday 17 September 6-8pm


Golden Square

17-18 Golden Square, London W1F 9JJ

Gallery Hours: Tuesday - Friday 10am-6pm; Saturday 11am-5pm, and by appointment

Jorge Mendez Blake at MUAC Artforum critics' pick

Jorge Méndez Blake, Topographer (Marking a Series of Points from the National Library to the University Museum of Contemporary Art), 2015, HD video, black-and-white, sound, 13 minutes 14 seconds.

Jorge Méndez Blake

Insurgentes Sur 3000, Centro Cultural Universitario, Delegación Coyoacán

May 23–September 20

Jorge Méndez Blake's work has always incorporated architecture, books, and archive fever as a haunting exquisite corpse. Perhaps this is best distilled in his recent exhibition, "Topographical Transferrals from the National Library," in Mexico City. Here the artist plays with the physical act of translation, which, as in his video The Topographer (Marking a Series of Points from the National Library to the University Museum of Contemporary Art), 2015, can be quite a painful and arduous process: In the piece, Méndez Blake attempts to move straight through the brush between the National Library and this museum. Also addressed is the act of translating works by memory: The artist invites us to choose a couple of verses from poetry books at the aforementioned library, memorize them, then retype them inside the museum. Finally there is the act of transmitting ideas from one medium to another, most successfully enacted in The Great Poem of Twentieth Century (Mexico), 2015, where he converts each millimeter of each letter from the titles of twentieth-century Mexican poems available at the library into a sculptural installation of thin aluminum poles.

The exhibition circulates among institutions—invasion or hospitable permeability?—and thereby changes our way of perceiving each space as well. A smart and playful nudge at establishments that often seem like dead repositories—for instance, usually one cannot borrow books from the National Library—the exhibition might first appear a little dry, with a few typewritten verses here, a black-and-white video there, a thick book, and an architectural model of the library, but in the end Méndez Blake reveals that translation, like art, is a relationship that is sometimes difficult but very much alive.

— Gabriela Jauregui

SUPERFLEX in New York Magazine: The Urbanist’s Copenhagen: What to Do

"... In a Trippy Park

Superkilen (Nørrebroparken)

Divided into three sections — the Red Square, the Black Market, and the Green Park — the highly conceptual tract designed by Copenhagen art crew Superflex features a hilly cycling track painted with swerving stripes and an octopus-shaped playground slide modeled after one in a Tokyo suburb.

Fill your basket: "Det Eksotiske Hjørne, which translates to 'the Exotic Corner' (Jagtvej 127), is a short walk and really stands out among Copenhagen's countless sandwich and salad places. Get the hummus and some tzatziki to go."

Fiona Connor: A Man of Average Means at Human Resources Los Angeles

A Man of Average Means

Opening Reception: August 2nd 4-7pm with a performance by Dawn Kasper at 5:30PM

In 1978, frustrated by his country's inability to produce quality films, North Korean Supreme Leader Kim Jong Il embarked on a plan to appropriate proven foreign resources.  With this intent he carried out the well-documented abduction of South Korean filmmaker Shin Sang Ok and his ex-wife, the actress Choi Eun Hee, independently of each other during visits to Hong Kong.

Approximately two years after the abductions, Kim held a celebratory banquet in which the two captives were presented as guests of honor.  Only then, upon seeing each other, did they become aware of their parallel circumstances.  This reunion, coupled with a rather heartfelt admission by Kim himself, revealed the true significance of his fantastic and aggressive gesture – the desire to find a poetic moment from within the perfectly constructed ideology he embodied.

Shin and Choi produced thirteen films in the following six years of their strange circumstance (during which they were remarried), until they escaped while attending a Viennese film festival. They would eventually migrate to Los Angeles, where Shin worked under the pseudonym, Simon Sheen.

A Man of Average Means is an exhibition featuring works by:

Peggy Ahwesh, Keren Benbenisty, Jakob Brugge, Fiona Connor, Dawn Kasper, Dawn Kinstel, Lucas Knipscher, Charles Mayton, Viola Yesiltac, Yoni Zonszein

Organized by Eric Kim and Thomas Torres Cordova

Gallery Hours: Wed-Sun, noon-6PM

Human Resources
410 Cottage Home St
Los Angeles CA, 90012

KCRW: Diana Thater's Science, Fiction

Diana Thater, "Still from Visual Voyage: Milky Way to the Virgo Cluster," 2015

Diana Thater's Science, Fiction

Hunter Drohojowska-Philp admires the artist's videos at the San Jose Museum of Art.

Artnet: At Lisa Cooley, Fiona Connor Makes a Fountain that Moves on From Duchamp


At Lisa Cooley, Fiona Connor Makes a Fountain that Moves on From Duchamp

THE DAILY PIC (#1346): I'm not sure if she meant it this way – surely she must have? – but Fiona Connor's On What Remains, Part One, installed in the rear space of Lisa Cooley gallery in New York, reads as the latest smart reworking of Duchamp's original Fountain.

Whereas the Master's 1917 urinal took a deluxe bathroom fixture (it wasn't the abject object people have claimed) and turned it into non-functioning, un-plumbed art, Connor started with a much distressed water fountain from nearby Tompkins Square Park and then reproduced it, complete with plumbing, in a gallery setting. Despite its humble look, Connor's piece isn't a readymade: she didn't grab an object in the real world and simply present it, by fiat, as art. Her laborious reproduction is closer to a high-realist representation or even trompe-l'oeil; she's called it “a one-to-one drawing." Which means it's less about art and its games than about the original object that it is taking such pains to reveal to us.

Connor's press release explains that the park's concrete fountain was designed way back in 1939 – its bold lines are Art Deco, not Brutalist, conceived among the Lefty ideals of the New Deal. Ever since, it's been generously offering water to the changing denizens of the Lower East Side, from Jewish immigrants to Latinos, from protesters to druggies and muggers to, now, the baby-and-iPad set – the very people who stroll among the new galleries of the yupified neighborhood.

Connor has condensed all that history and meaning into a single object. The object dishes it out again, sip by sip.

Fiona Connor 'A Letter to an Unwritten Future"

Brian Butler Interview with Yale Radio

Hosted by Brainard Carey

LA Times: LAX unveils public art by Ball-Nogues, Mark Bradford and Pae White


A view of artist Pae White's installation "ΣLAX," recently unveiled at the international terminal at Los Angeles International Airport. (PanicStudio L.A.)

LAX unveils public art by Ball-Nogues, Mark Bradford and Pae White

The Tom Bradley International Terminal at LAX debuted this week three new public art commissions designed to greet departing and arriving passengers and provide a measure of calm and reflection amid the chaos of air travel.

The artists involved all have strong ties to Los Angeles -- Mark Bradford, Pae White and the Ball-Nogues studio each resides or works in the L.A. area. Funds for the commissions came from the airport, with each installation budgeted at $1 million, according to Sarah Cifarelli, the art manager at LAX.

She said the airport participates in the city's "1% for arts" program, under which developers pay an amount equal to 1% of the construction value, with the money going to public art. The recently unveiled installations are on view on a permanent basis, she said.

Click here for full text.

Jan Albers: cOlOny cOlOr at Kunstpalais Erlangen

Jan Albers: cOlOny cOlOr

Opening: July 10, 2015

Exhibition: July 11, 2015 - September 06, 2015


Marktplatz 1

91054 Erlangen


Jorge Pardo in SUMMER SHOW at Petzel New York

Summer Show

Jorge Pardo, Jon Pylypchuk, Dirk Skreber

July 2 - August 7, 2015

Opening Reception: Thursday, July 2nd, 6-8pm

Petzel Gallery

456 W 18th Street

New York, New York 10011

Ana Prvački Review in Flaunt Magazine

Obscene, Lewd, Promiscuous, Shameless, Abandoned, Libertine, Libidinous, Licentious, X-Rated, Amorous, Bawdy, Carnal, Raw, Rousing, Earthy, Erogenous, Fervid, Filthy, Fleshly, Hot, Kinky, Lascivious, Lecherous, Raunchy, Salacious, Spicy, Stimulating, Titillating, Voluptuous, and Nice.

Ana Prvački's "Tent, Quartet, Bows and Elbows," opens on a string quartet performing energetically inside a small tent. As the four players inside the silken edifice perform, their flailing limbs are seen in outline, and the spectacle out of context—one that would be somber in any other circumstance—is laughable and evocative of kids fooling around at summer camp.

Prvački—a performance artist who was born in Serbia, and educated in Singapore and New York—has thought a lot about the intersection between the erotic and the humorous; her new solo show Porn Scores, at 1301PE Gallery, has a clear message, one that is too easily forgotten: art is fun, music is sexy, sex is funny. The show is primarily populated with sheets of classical scores interspersed with delicate illustrations of male and female reproductive organs.

On the subject of eroticism and humor, Prvački says, "For me, eroticism is very much connected to humor. It is a new kind of eroticism, something between sexy and slapstick."

Regarding the show's relationship with music: "Studies of music rooms in 17th and 18th century France and Italy show that young girls and women were encouraged to play an instrument but not too well, it was understood that a daily and in depth experience of music would be too carnal for proper young women."

When Prvački is asked what she thinks about summer camp, she (characteristically) after a good laugh responds, "I think both of my interests in camping and sexuality go well there." Later, over email, she adds, "Thinking about your question from the other day, I think summer is all about the bees!"

It's either a good or a very bad time to be an artist working in the explicit, depending on how you feel about infamy. June 7th marked the unveiling of Anish Kapoor's evocative sculptures at Versailles. One piece in particular raised public ire: "Dirty Corner," Kapoor, in an interview with Le JDD, called the installation, "A mysterious sculpture of rusted steel 10 meters high, weighing thousands of tons, stones and blocks all around. Again sexual [in] nature: [it represents] the vagina of the Queen who took power."

Prvački's use of the anatomical puts her in the same class as a few other artists, most of whom have not been well received—Japanese artist Megumi Igarashi was indicted twice last year for her provocative kayaks made from a 3-D printed mold of her vagina—but to Prvački the use of the actual genitalia is very important. When discussing this, she brought up the Met Gala this year, in which it was noted that numerous attendees were wearing "naked dresses" that exposed almost everything except for the pudenda. "I thought, 'what a strange thing, culturally. What does that mean? Does this mean that people are so afraid of the imagination, that they would rather go naked?' I don't know. I think we definitely need some cultural acupuncture. So, I'm hoping that the show does that in a way."

Prvački's work often deals with humanity and our customs. Her exhibition for dOCUMENTA Kassel in 2012, called Greeting Committee, consisted of three parts: a conversation and training on etiquette with D13 staff, a series of six PSAs shown in service areas and a key note lecture by Professor Kwame Anthony Appiah. When I asked if this came from her own personal experiences of living in so many different cultures (Communist Yugoslavia, Singapore, London, New York, Paris, Los Angeles) she says, "Part of my project was focused on the faux pas, on how the potential going wrong becomes an opportunity to connect with people through humor. Again, humor being that incredible opener."

At the end of "Tent, Quartet, Bows and Elbows," Prvački, a petite woman in a long, black dress walks into frame and unzips the tent, the performers pile out like clowns from a proverbial car, and she carefully zips it up again; just as the warm spring night folds around us foreshadowing the long hot summer to come.

Written by Amy Marie Slocum 

Fiona Connor 'On What Remains, Part One' at Lisa Cooley New York

On What Remains Part 1 Email Out Web <p><span style="color: #808080; font-family: helvetica; font-size: 13.3333330154419px;">Tax Department Photograph, ca 1940 / 107 Norfolk Street</span><br style="color: #808080; font-family: Helvetica; font-size: 12px;" /><span style="color: #808080; font-family: helvetica; font-size: 13.3333330154419px;">NYC Municipal Archives</span></p>

Fiona Connor

On What Remains, Part One

Lisa Cooley, New York

June 26 - August 21, 2015

Lisa Cooley is pleased to present On What Remains, Part One, the first of a two part solo exhibition with the gallery by Fiona Connor. This is the artist's first solo exhibition in New York, following her Newspaper Reading Club, New York Poster Project presented in collaboration with Michala Paludan as an offsite project with Lisa Cooley in October 2014.

Click here for full text.

Rirkrit Tiravanija Interview Blouin Art Info

Rirkrit Tiravanija on His Hospitable Art Basel Intervention

Rirkrit Tiravanija on His Hospitable Art Basel Intervention

For the duration of the 2015 edition of Art Basel in Basel, renowned conceptual artist Rirkrit Tiravanija will present a project titled "DO WE DREAM UNDER THE SAME SKY" in collaboration with German architects Nikolaus Hirsch/Michel Müller and Finnish chef Antto Melasniemi.

Located at the entrance to the fair, "DO WE DREAM UNDER THE SAME SKY" comprises a herbal garden, kitchen, and a communal dining and meeting area, with the main modular bamboo and steel structure designed by Nikolaus Hirsch and Michel Müller.

The project is an invitation to enter a sphere of hospitality, recovery, and community amidst the excitement of the art fair where visitors can engage in activities such as the drinking of herbal tea plucked fresh from the onsite garden, as well as the cooking and eating of food.

The food is rooted in Thai tradition and will be available with no fixed schedule, menu or price list, and with compensation determined by the visitors, by either serving oneself, serving others, donations, or helping with food preparation or cleaning up.

Developed and executed in collaboration with Finnish chef Antto Melasniemi, the program will explore an ecological cycle beginning with the growing of herbs and continuing on to their use in the production of tea and culinary creations.

"DO WE DREAM UNDER THE SAME SKY" is an extension Tiravanijas's and Thai artist Kamin Lertchaiprasert's project "the land," a land foundation in Chiang Mai initiated as a self-sustaining environment emerging from the artistic community.

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Philippe Parreno Review

Portrait by Andrea Rossetti

Making Sense of Philippe Parreno in His Multifaceted Park Avenue Armory Exhibition

"The show is pretty optimistic," Philippe Parreno says, sitting in the dimly lit hallway of the Park Avenue Armory, where his first major U.S. exhibition "H {N)Y P N(Y} OSIS" opened last week, occupying the building's 55,000-square-foot Wade Thompson Drill Hall. "[My show at] Palais de Tokyo was a bit more dark. But maybe that's because I'm finishing dealing with cancer, so there's a bit of light coming back." Parreno laughs but there is an undertone of relief in the remark, one that carries through the show.

In the United States, the French artist is harder to pin down than most of his relational aesthetics counterparts. Tom Eccles, the show's "consulting curator" (Eccles was asked by the artist to join the project after it was commissioned by Hans-Ulrich Obrist and Park Avenue Armory Artistic Director, Alex Poots), comments, "The wonderful world of Philippe Parreno is made up of many different parts. There isn't a signature style." However, "H {N)Y P N(Y} OSIS" begins to make sense of the fragmented Parreno pieces most contemporary art lovers will likely have encountered—the glowing lights of one of his signature marquee pieces at the entrance of the Guggenheim during the 2008 exhibition "theanyspacewhatever"; or the flickering tubular lights seen throughout the Arsenale building in Okwui Enwezor's "All the World's Futures"; or the feature-length film Zidane: A 21st Century Portrait, made with Douglas Gordon, that followed every movement of the legendary French footballer through one match; or, with artist and friend Pierre Huyghe, the act of purchasing the rights to a manga character, who they named Ann Lee. The character has since appeared in the works not only of Parreno and Huyghe but also those of Tino Sehgal, Liam Gillick, Dominique Gonzalez-Foerster, François Curlet, Melik Ohanian, and Rirkrit Tiravanija, amongst other artists.

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Paul Winstanley on Architectural Digest Blog

Art School 36

      Art School 36, Paul Winstanley.

Painter Paul Winstanley Captures Empty Artists' Studios on Canvas

British artist Paul Winstanley's "Art School" paintings, now on view at the Mitchell-Innes & Nash gallery in Manhattan, take their inspiration from his own photographs of art-student studios left empty for the summer months.

Though imitative of photographs, these delicately realist works are full of painterly depth and texture. Plush grays and downy whites lend the scenes a soft, comfortable, well-worn feeling; the studios are empty and bare, monastic even, but never austere. Signs of craft and toil mark the floors, walls, tables, and chairs. In one piece, a bright orange surface—wall or canvas?—is so close it is almost menacing, an explosion of energy cutting off our view of the serene studio beyond.This tight cropping obscures depth and angles: Floors bleed into walls, art bleeds into floors, walls bleed into windows. Hazy summer light floods through grand windows and over partial walls. The spaces appear ethereal and dreamlike, ideal for thinking, imagining, and creating—and hard to leave behind, even for summer.

Through July 19 at Mitchell-Innes & Nash, 534 West 24th Street, New York, Text by Alexa Lawrence

Ann Veronica Janssens in 'Belgian Geometric Abstraction' at L'Espace de l'Art Concret

Belgian Geometric Abstraction

L'Espace de l'Art Concret

June 28 - November 19 2015

Château de Mouans

F06370 Mouans-Sartoux


With: Marcel-Louis Baugniet, Gaston Bertrand, Pol Bury, Jo Delahaut, Marthe Donas, Francis Dusépulchre, Pierre-Louis Flouquet, Henri Gabriel, Paul Joostens, Walter Leblanc, Karel Maes, Jean-Pierre Maury, Jozef Peeters, Victor Servranckx, Michel Seuphor, Guy Vanderbranden, Georges Vantongerloo, Léon Wuidar, Ann Veronica Janssens, Bas Ketelaars, Pieter Vermeersch

Ana Prvacki The Huffington Post Review

The Erotic Underbelly Of Classical Music

The first thing you'll see upon entering Ana Prvački's current exhibition at 1301PE Gallery is a video of a white tent, twitching wildly, accompanied by roaring classical music.

The shape of the fixture resembles a traditional camping tent, yet the usual polyester filling has been replaced with a membranous, white skin. Something is moving inside the tent, something resembling an otherworldly creature attempting to break free, its many limbs clawing wildly at the pliant fabric enclosing it.


From one angle, the goings on resemble an orgy or a raucous camping trip. From another, the tent itself seems to be sentient, wiggling and poking to the beat like so much "melodious pudding," in the artist's words.

It takes a while to realize that a live quartet is playing the classical number within the tent walls, and the frantic movements visible from the outside are elbows, violin bows, violas and various undecipherable limbs jerking and jolting to the music. The gestures involved in playing an instrument are, when draped in fabric, transformed into cryptic choreography, at once sensual, alien and silly.

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Philippe Parreno 500 words in Artforum

Philippe Parreno, The Crowd, 2015, digital video, color, sound, 24 minutes.

Paris-based artist Philippe Parreno's installation H{N)YPN(Y}OSIS, 2015, is a fluid and infinitely variable composition of audio and visual elements that the artist can individually manipulate using an iPad. Parreno will be on site for the duration of the show, choreographing an ongoing, ever-changing dance featuring videos, sculptures, and live performances. H{N)YPN(Y}OSIS opens at the Park Avenue Armory on June 11 and will run through August 2, 2015.

UNTIL THIS PROJECT, the tools I had at my disposal to visualize a show were basically computer programs designed for positioning objects within a space. There wasn't really a way to deal with the element of time. I was particularly interested in the Armory's emptiness—there's not much to contend with in terms of architecture—and I wanted to see how I could create blocks of time, or variable durations, within this vast open space. I was thinking about how I could get people to spend a couple of hours there. Instead of intervening in the infrastructure, like I did for my show at the Palais de Tokyo in 2013, H{N)YPN(Y}OSIS explores temporality by introducing time into architecture. Nothing I'm doing at the Armory is integrated into the architecture, so nothing is permanent or fixed.

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Ana Prvacki Wallpaper Review and Crossword Puzzle Competition

Orgasmic overture: Ana Prvački explores music and eroticism in her solo show at LA's 1301PE Gallery - by Ali Morris

How would erotica look as a musical score? It's a question that Yugoslavian artist Ana Prvački has answered in a rather frank manner with a new series of works called the 'Porn Scores', that see the artist deface classical sheet music with cartoon-like sketches of genitalia squeezed in-between notes, dangling below the staff and ejaculating across the bars. It's the kind of limitation-exploring, comedic approach for which the LA-based artist is known.

'The relationship between music and eroticism has been consistent,' explains the LA-based artist. 'Studies of music rooms of 17th and 18th century France and Italy show that young girls and women were encouraged to play an instrument but not too well. It was understood that a daily and in-depth experience of music would be too carnal for proper young women.'

It is these uneasy feelings within our cultural mores that inspires her work, something she describes as a 'reconciliation of etiquette and erotics'.

Arranged into bound scores and propped up on music stands designed by Prvački, 22 of the Porn Scores (Wagner's Tristan and Isolde opera takes up ten sheets alone) are currently on show at LA gallery 1301PE alongside Prvački's 'Tent, Quartet, Bows and Elbows' - a video work which sees a string quartet perform music inside the confines of a tent, the bows of their instruments frenetically poking and stretching the fabric along to the music. Attendees at the show's opening will be treated to a live performance of this by an LA based quartet, the Lyris.

Even those unable to attend can still participate in the titilating show by printing and completing the suggestive crossword puzzle poster (pictured above) that Prvački has created to promote the exhibition. The first Wallpaper* reader to submit the completed puzzle to will receive a drawing by Prvački herself. Now that's what we call interactive art.

Philippe Parreno New York Times Review

In Philippe Parreno’s ‘H{N)Y P N(Y}OSIS,’ Art Is the Big Idea

When he was young, the French artist Philippe Parreno had a fantasy in which he would open his mouth and a beam of projector light would shoot out, casting his thoughts onto whatever was in front of him, medium and message in one human head. "My imagination would just be easy and available," he once told the computer scientist Jaron Lanier.

For more than 20 years, Mr. Parreno's imagination has been abundantly available in shows that seek, with a kind of operatic flair, to upend the sense of what an art exhibition can be: a moving sculpture you can sit on; a piece consisting of a talking ventriloquist and dancing curtains; another in which the temperature in a gallery plummets and an immense snowdrift slowly reveals itself. As the snowdrift might suggest, such pieces have never been easy, for art institutions or for art-goers raised mostly on painting and sculpture that stay politely in place, asking for little beyond contemplation.

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Rirkrit Tiravanija 'The Studio Residency at the Land' Kickstarter Launch

Rirkrit Tiravanija 'Tomorrow is the Question' at Garage Museum of Contemporary Art Moscow

Rirkrit Tiravanija 'Tomorrow is the Question'

Garage Museum of Contemporary Art Moscow

June 12–23 August, 2015

Garage Museum of Contemporary Art presents the first large-scale exhibition of Rirkrit Tiravanija (b. 1961, Buenos Aires, Argentina) in Russia. Developed after spending time in Moscow while also expanding on his personal ongoing interests, Tiravanija has created a series of interconnected participatory projects that form a dialog with the history of the Soviet Modernist building Garage inhabits, as well as with popular activities that the artist experienced and envisaged in the city, such as ping pong, producing self-styled t-shirts, and eating pelmeni (the quotidian Russian dumpling). Adding another perspective to the exhibition, the artist has also paid homage to little-known Czechoslovakian conceptualist Július Koller, (1939-2007) who is both an inspiration and creative source for Tiravanija, particularly in his choice of the exhibition title: Tomorrow is the Question.

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Rirkrit Tiravanija 'untitled 2015 (run like hell)' at Galerie Chantal Crousel

Rirkrit Tiravanija

untitled 2015 (run like hell)

June 6 - July 18 2015

Galerie Chantal Crousel

10, rue Charlot

75003 Paris

Kerry Tribe at 356 Mission Artforum critics' pick


356 S. Mission Rd.

Los Angeles, CA 90033

10 April - 31 May

A long projection wall cleaves the space in two. The first half, daylit, contains a veritable chromed forest of warped, Seussian C-stands, composed along with piles of pristine apple boxes, potted plants, and the occasional parabolic-mirror pod or monitor. Here, the accoutrements of photo-media production are pretentiously made into sculpture, the artist expressing, barely, an attempt at expression.

The second portion is a darkened theater screening Tribe's three-channel video The Aphasia Poetry Club (all works 2015), narrated by three members of the titular group. "I'm aphasic," says one, "and you are an artist, but we have a commonality: trying to express ourselves." Over broad, beautifully edited shots of minerals and fruit, which the speakers haltingly describe, as well as CT-scanned images of arboreal blood vessels (aphasia is often linked to stroke), each narrator tells the story of how they suddenly, seemingly at random, became stricken with the inability to process language. The video ends in a kind of poignantly zany cartoon, envisioned by one sufferer, a screenwriter: The Loste Note (from which the show takes its title). A spider conductor leads a choir of singing pill bugs and shrubs: "I can't speak, but I can sing / I have seen some awful things, / but it's OK when we sing together."

This backstory reframes the sculptures, allowing them to be read as practical objects, "things," abstracted and bent toward poetry. Two sets of silk-screen prints hang opposite each other: Stroop color word test / Moondust, a simple set of mismatched color words used to detect brain damage, and Is Popcorn Alive?, another cognitive diagnostic tool—here reframed as text art. Other sculptures including minerals and a miniature mill illustrate the narrators' stated interests, and seem to suggest a therapeutic utility—which the artist's recontextualization subverts, somehow compromises, yet to which Tribe's art aspires.

Travis Diehl

Blake Ryan 'Peaceful Photographers' at Campoli Presti London and Paris

Campoli Presti


223 Cambridge Heath

Rd London E2 0EL


6 rue de Braque

75003 Paris

Jorge Méndez Blake 'Traslaciones topográficas de la Biblioteca Nacional' at MUAC

Jorge Méndez Blake

Traslaciones topográficas de la Biblioteca Nacional

May 23 - September 20, 2015

MUAC, UNAM, Mexico City

Jorge Méndez Blake has spent much of his career unveiling the secret lives of libraries, as utopian mechanisms of exploration, containment, classification, and accumulation; institutions that generate status, organic systems, totalizing cultural symbols of enlightenment and modernity. Topographic Transferrals from the Biblioteca Nacional is a project commissioned by the MUAC that forms a part of this extensive investigation, involving reflection on architectural materiality and its geographic location. In this case, the artist's starting point is the physical proximity between the National Library and the Museo Universitario Arte Contemporáneo (MUAC) to activate library-museum and poetry-visual arts relations. He seeks to physically connect the two buildings through a series of actions that involve the participation of the artist and other persons. The MUAC was the final building to be incorporated into the University Cultural Center (CCU), and its architect originally conceived the internal corridors of the museum as streets that would connect the center of this complex with the National Library and the adjacent sculpture garden. In practice, the opposite has occurred, since for logistical reasons the corridor linking the esplanade of the Cultural Center with the Library has been closed off. The first action, The Surveyor, involved the marking of a series of points between the National Library and the MUAC, and documenting the artist on video as he explores an alternative route—the shortest between the two buildings—defining a straight line across the semi-wild area of vegetation and volcanic rock that separates them. To construct a straight line, the artist marks the territory it advances across, utilizing surveying instruments. This action alludes to the relationship between literature and the voyages of colonial exploration made by conquistadors, expeditionaries and adventurers, which gives rise to the relation between knowledge and modernity. At the same time, it builds a metaphor about the distance between literature and visual arts, where the Museum and the National Library operate as its material emblems.

Diana Thater "The Sympathetic Imagination" at LACMA

Diana Thater: The Sympathetic Imagination

Art of the Americas Building, Level 2

November 22, 2015–February 21, 2016

A pioneer in film, video, and installation-based art, Los Angeles–based artist Diana Thater has been active since the early 1990s. Thater's work emphasizes the tension between the natural environment and mediated reality and, by extension, the tamed and wild, and science and nature. Often drawing on the complex relationship between animal and plant behaviors in the context of their respective environments, Thater's evocative works occupy exhibition spaces via time, image and movement, creating discords and harmonies for the viewer.

The most comprehensive exhibition of her work to date, Diana Thater: The Sympathetic Imagination is a survey spanning nearly 25 years of the artist's career. It begins with Oo Fifi, Five Days in Claude Monet's Garden Part 1 and Part 2 (1992), which immerses the viewer in abstractions created by the separation and overlapping of color and image from slightly out-of-register images. The most recent work is Life Is a Time-Based Medium (2014), a monumental architectural piece filmed at the Galtaji Temple in Jaipur, India.

Philippe Parreno at Park Avenue Armory

H {N)Y P N(Y} OSIS: Philippe Parreno

"From spectacle to bafflement, moments of melancholy to visceral excitement… it is not so much an immersive exhibition as one that engulfs you."
The Guardian (UK)

In the past two decades, Philippe Parreno has almost single-handedly reshaped the very notion of what it means to experience art by turning the dynamics of a show into an evolving, situational process, exploring its possibilities as a singular, coherent object rather than as a collection of individual works.

In his largest installation in the U.S. to date, Parreno continues his interrogations into the radical redefinition of the exhibition ritual at the Armory, in one of the few spaces in the world in which such an epic experience could occur. Within the monumental interior of the Wade Thompson Drill Hall, he will construct a scripted space where a series of events fold and unfold onto the space itself, creating an architecture of attention on a scale of operatic proportions. This dramatic composition fuses the spectral presence of sound—both recorded and performed live — with film, light, collaborations, apparitions, and memory to guide and manipulate the viewer's experience and perception. This sensory journey through both remastered existing works and new projects reveals strata that while present, were previously invisible, and metamorphoses the building into a quasi-living, perpetually evolving organism.

Paul Winstanley at Mitchell-Innes & Nash

Paul Winstanley

June 5 - July 10, 2015
534 West 26th St

NEW YORK, March 31, 2015 – Mitchell-Innes & Nash is pleased to present its third solo exhibition of work by the British artist Paul Winstanley. The exhibition will include approximately 10 new paintings from his ongoing series Art School, which is accompanied by Winstanley's recent photographic publication, Art School (2013). The photographs of empty art student's studios during summer vacations are the inspiration for both the monograph and the works in the show. The exhibition will be on view at the gallery's Chelsea location from June 5 through July 19, 2015.

Paul Winstanley is best known for his delicate paintings from photographs, which pull beauty from quotidian environs with tactile precision. Wavering between photographic realism and painterly softness, Winstanley's works call into question the quiet psychology of public and private spaces.

In this body of work, the artist traveled throughout the summer months of 2011 and 2012 ummer months to art schools in England, Scotland, and Wales, photographing their interiors unaltered and in natural conditions, which became the source material for his paintings. The resulting paintings on panel are saturated with the creative potential offered by their ethereal emptiness. Both poetic and contemplative, the artist studios depicted in the paintings document the undefined creative act: completed, imagined, or unrealized. Through the luminous absence of these spaces, Winstanley gives tangible weight to the aesthetic unknown.

Jorge Méndez Blake "Projets pour une Possible Littérature / Projects for a Possible Literature" at La Kunsthalle Mulhouse

recto carton invitation

Jorge Méndez Blake, "The James Joyce Monument", 2012.
Plexiglas, metal, mirror, 140 x 80 x 75 cm.
Courtesy of the artist and Meessen de Clercq, OMR, Travesia Cuatro and 1301PE galleries.

Projets pour une Possible Littérature / Projects for a Possible Literature
Jorge Méndez Blake

Curated by Sandrine Wymann

June 4th – August 23rd 2015

Opening Reception: Wednesday, June 3rd at 6.30 pm
During Art Basel: Reception at La Kunsthalle, Friday June 19th at 7 pm

Projects for a Possible Literature is Jorge Méndez Blake's first exhibition in a French art center. A Mexican artist born in 1974, he lives in Guadalajara and belongs to a generation of South American artists which is now extremely present on the international scene.
Through drawings, installations or environmental interventions, Jorge Méndez Blake brings literature closer to art. In his work, texts have a meaning, which he translates into shapes or images. He amplifies it through an expertly constructed conceptual language, and takes part in rewriting games. From his monumental installations to his simplest gestures, he imbues his work with a physical relationship between the chosen texts and the reader, who becomes a viewer.
His work creates new connections between literature and architecture. His pieces broaden the possible readings between authors, texts and architecture by placing them in new contexts.
Jorge Méndez Blake sees the exhibition at La Kunsthalle as an opportunity to come back to some of his existing work, but also to create numerous new pieces. He presents his work in an almost encyclopedic manner, gathering a range of buildings, books and other constructions to make up a complete collection of the formal elements of his work. The result is a set of small pieces which all carry the make-up for a possible literature.

Alex McDowell on Kirsten Everberg

Alex has chosen the painting on the left

Alex has chosen the painting on the left

Alex McDowell, film production designer and producer, founder and creative director of 5D Global Studio, on a painting by his wife, Kirsten Everberg

GB Tell me why you chose this painting.

AM 'The Woodcutter' is one of a series of four paintings by my wife, Kirsten Everberg. I feel deeply connected to my wife's work. I've seen this incredible transition she made. She was a costume designer when I met her, working in film, and she decided that she wanted to go back to art school when we had our first child. So she literally went back to art school with Oonagh, our baby daughter on her hip. She was going to just dip in and then go back to costume but she realised she had found her life's work. Her process is unique. She projects images and paints in very thin oil while the canvas is vertical, then she lays it flat and drips liquid acrylic onto the surface. There's a constant tension between control and release. With this painting, what resonates for me is the notion of Kurasawa's non-linear narrative Rashomon, that this series of paintings is based on. Like the film, this painting speaks to me of multiple issues about narrative. That's kind of fundamental to what I'm doing nowadays. Then there's this idea that every story has rich, layered, interwoven time and space, and each lens you put on it gives you a different story. For this series she made four very similar looking paintings of the forest where the Rashomon story takes place. Each one represents a different character and each character has a different story outcome because of their different viewpoint. And then there is her process. The surface of this painting has this beautiful quality of shifting from the abstract to the figurative depending on scale. The closer you get to it, the more abstract it becomes, which I think makes your relationship to the painting very volatile. It changes completely as you move back and forth from something chaotic to something that has layers of figurative meaning. The things she's dealing with in memory and history are there for you if you stand back far enough to see it as something with a photographic source. Then as you get closer it becomes more about the paint and the materiality. That is a beautiful aspect but in this case it has extra layers of meaning with the Rashomon source.

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Sean Knibb blogs Jan Albers

Maybe it was the garden-like quality of Jan Albers work that first attracted Sean to it. In his recent Henry Hurt vs. Holly Heal series (seen below) the skewed squares seem to have the character of a flower, like gridded petals blowing in the wind.

The pieces in the series have a dimensionality that expands as the as the viewing angle changes. As constructions, they're ingeniously engineered. Their texture radiates a kind of kinetic energy, seeming to move before your eyes. Their structure is both flower-like and architectural, like something made by bees in a kaleidoscope. The references to Cubism are hard to deny. The pieces are built from polystyrene (the stuff packing peanuts are made from) and/or wood and then covered in spray paint, or as in the gray piece above, graphite. 

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Laurel Doody now open

Laurel Doody is an apartment gallery on Miracle Mile in Mid-Wilshire, Los Angeles.  Over the next ten months the gallery will present a program of exhibitions, screenings, and events. Laurel Doody launched in April with the exhibition "A short line between three points" curated by Quentin Sprague and on view through May 21st.

Kerry Tribe LA Times review

The intersection of memory, language and perception is often congested – and sometimes even clogged. The presence of symbolic signals doesn't always help the traffic flow.

Kerry Tribe has been productively working at the busy juncture for at least 15 years. "The Loste Note," her new mixed-media sculpture and video installation at 356 Mission is among the most resonant excursions yet.
Concluding an international tour, the survey admirably unfurled 30 years of work by one of the most important artists of our time.
The title's spelling aberration, in which "lost" gets tweaked to rhyme with "note," is a clue. Language is malleable and elusive, as easily lost as an evaporating musical chord. As it disappears, however, it might open up a space for something new – for poetry.
The show's centerpiece is "The Aphasia Poetry Club," a three-channel, half-hour video "mural" narrated by two men and one woman. They are afflicted with a communication disorder that results from damage to the parts of the brain where language takes shape. (Aphasia is often the result of a stroke.) Tribe's video projection mixes photographic images with animation.
As one aphasiac speaker describes the effect, information arrives more rapidly and in greater volume than her brain can process, leading to disorientation and unexpected perspectives. The video illustrates the effect in surprising ways.
The triptych might simply line up an apartment building's second-floor walkway shown at a precarious tilt, then the apartment's front door in a view that is blocked by a post and, finally, a vertiginous view down to a ground-level sidewalk that splits in two, interrupted by a bush. Your mind starts connecting the speaker's struggling voice, which recalls an episode of stumbling into a hedge, to the blockages and confusion implied by the pictures.
Oddly, the faceted composition also recalls a Cubist painting. But it moves by too quickly to take it all in.
The exposition of aphasia marches on, with Tribe slowly building imagery to accompany the speakers' narratives. The pictures include packed bookshelves, the solar system, geological specimens, Cambodia's killing fields and a scattering of letters, which looks like alphabet soup.
Sometimes it switches over to animation. One speaker talks about his experience as a Navy SEAL, another relates his mother's intimate interactions with birds. A cartoon seal in a naval uniform and a jaunty yellow bird arrive.
Uncomplicated, brightly colored and almost childlike in style, the animations lend ingenuous sweetness to a difficult situation. The cartoons build to a happy crescendo that comes as a relief – not least because some scenes were shot inside the very gallery in which we are watching the video. Dysfunction is all around us.
On the other side of the big video wall, mixed-media sculptures are composed from the microphone booms and lighting stands common to a television studio. None functions as expected. One seems to hold up a wall, another is twisted into a graceful arabesque, like a dancer.
Each sleek, chrome tube has been bent out of shape and extruded. They're abstract drawings in space. Something soon dawns: The overload with which these aphasiacs struggle might also describe an entire society. Media-filtered information today arrives more rapidly and in greater volume than a brain can process. Overwhelmed by an excessive barrage of nonstop verbal and visual data, we are all aphasiac now.

356 Mission, 356 S. Mission Road, (323) 609-3162, through May 31. Closed Monday and Tuesday.

Society for the Activation of Social Space through Art and Sound

(SASSAS) Announces
Bootleg LP Art Auction Pop Up Preview & Artist Reception
Hosted by 1301PE
Featuring an auction of work by more than 60 artists
including Sam Durant, Jim Isermann, Alice Könitz, and Pae White
Preview: May 27 - 30; Reception Thursday, May 28 from 6-9 PM
Bidding concludes at Blast! [12] Garden Party and Fundraiser
LOS ANGELES, CA (May 5, 2015) – The Society for the Activation of Social Space through Art and Sound (SASSAS) is thrilled to announce a Bootleg LP Art Auction Pop Up Preview of the Blast! [12]  silent auction on May 27 - May 30 with an Artist Reception on Thursday, May 28 from 6-9PM at 1301PE. Bidding concludes at Blast! [12], the SASSAS annual garden party and fundraiser on Sunday, May 31, 2015 from 4 to 8 p.m.
With a Battle of the DJs, food, beverages, and a Bootleg LP Art Auction, Blast! [12 ] takes place at the private residence of the Hillenburg Family in San Marino, CA and supports SASSAS’s experimental art and sound programming.
The Blast! [12] silent auction showcases original “Bootleg LP” artworks inspired by record album covers, and features more than sixty artists including: Julie Adler, Tom Allen, Kevin Appel, Skot Armstrong, Lisa Anne Auerbach, Judie Bamber, Miyoshi Barosh, John Bauer, Scott Benzel, Leonardo Bravo, Anita Bunn, Carolyn Castaño, Jeff Colson, Aaron Curry, Sam Durant, Brad Eberhard, Elif Erkan, Morgan Fisher, Sarajo Frieden, Francesca Gabbiani, Liam Gillick, Phyllis Green, Mark Hagen, Stephen Hillenburg, Margaret Honda, Violet Hopkins, Steven Hull, Jim Isermann, Farrah Karapetian, Alice Könitz, Norm Laich, Richard Laudenbach, Joseph Lee, T. Kelly Mason, John Miller, Yunhee Min, Aaron Morse, Fredrik Nilsen, Stanislav Orlovski, Joel Otterson, Gary Panter, Anthony Pearson, Joe Potts, Rick Potts, Stephen Prina, Tom Recchion, Lynn Robb, Steve Roden, Eddie Ruscha, Amy Sarkisian, Alex Slade, Leroy Stevens, April Street, Ricky Swallow, Mungo Thomson, Devon Tsuno, Dani Tull, Michael Uhlenkott, Tam Van Tran, Pae White, Chris Wilder, Julie Wilson, B. Wurtz, Jason Yates, Liz Young
The auction artwork will be on display to the public at 1301PE located at 6150 Wilshire Blvd, Los Angeles, CA 90048 from May 27-30, with an artist’s reception on Thursday May 28 from 6 to 9 p.m. Pre-bidding via the SASSAS website starts May 19 and the auction culminates at Blast! on Sunday May 31. For the first time ever, bidders will be able to access the auction online at and continue bidding until the final gavel at 7pm on May 31.
Blast! [12] features a “Battle of the DJs”, twelve DJs in a raucous mash-up of musical styles, with sets by Mitchell Brown (KXLU, Dublab), Tom Chasteen (Dub Club), Money Mark (Beastie Boys), Dave Muller (Three Day Weekend), Tom Recchion (LAFMS), Eddie Ruscha (Dub Club), Brian Simon (Dublab, Anenon), Gabie Strong (KCHUNG) and more. The MC will be actor, director Tom Stern (Freaked, Jimmy Kimmel Live!, The Man Show). This year’s party also celebrates the launch and forthcoming first release of SASSAS Records, a limited edition quarterly vinyl subscription.
General Admission Tickets for Blast! [12] are $50; tickets for children under 14 are $10. For SASSAS Members, tickets are $40 and $5 for children under 14. A limited number of $30 student tickets are also available. Admission includes food, drinks, great sounds, and good times. Each ticket purchased will be entered into a raffle for a chance to win one of four pairs of tickets to attend a SASSAS Listening Party, or a one year subscription to Volume 1 of SASSAS Records. Blast! [12] tickets and SASSAS Memberships can be purchased at The event address will be provided upon ticket purchase.
All proceeds, including the art auction, benefit SASSAS's extensive programming, including its sound. concert series. For more information on upcoming SASSAS events, please call 323-960-5723 or visit

Blast! [12] Auction Committee:
Cindy Bernard, Gabriel Cifarelli, Carole Ann Klonarides, Katherine Niemela,
Fredrik Nilsen, Christina Ondrus, Renée Petropoulos
Blast! [12] Performance Committee:
Daniel Corral, Danny Gromfin, Greg Lenczycki, Tom Recchion, Joe Potts
The Society for the Activation of Social Space through Art and Sound (SASSAS) is a 501(c)(3) charitable organization that serves as a catalyst for the creation, presentation and recognition of experimental art and sound practices in the Greater Los Angeles area. Inspired by the resonance that occurs when experimental music is combined with unconventional performance environments, SASSAS seeks to foster new collaborations and improvisation to spark further exploration in the field. Programs include: sound. (annual concert series); soundShoppe (monthly workshop for experimental musicians); Ad Hoc (a project supporting touring musicians seeking to perform in Los Angeles), soundSpark (monthly children's concert series), Kids Play. . . (workshop series introducing young adults to experimental musicians and composers), soundNet recordings (CD compilations drawn from sound. concerts), SASSAS Records (limited edition quarterly vinyl LP releases with signed/editioned covers by artists), and our free online SASSAS Archive.
SASSAS is supported in part through grants from the City of Los Angeles Department of Cultural Affairs, the City of West Hollywood Arts Commission, Good Works Foundation, Metabolic Studio, The Mike Kelley Foundation for the Arts, and the Los Angeles County Arts Commission.

Venice Biennale - Rirkrit Tiravanija, Diana Thater, Philippe Parreno

Okwui Enwezor's "All the World's Futures" at the 2015 Venice Biennale consists of over 136 artists from fifty-three countries, and will feature a space for live programming in the Central Pavilion designed by David Adjaye called The Arena. "The linchpin of this program will be the epic live reading of all three volumes of Karl Marx's Das Kapital," Enwezor states. "Here, Das Kapital will serve as a kind of Oratorio that will be continuously read live, throughout the exhibition's seven months' duration." The Biennale has also commissioned Kara Walker to direct a new production of Vincenzo Bellini's Norma (1831), which will be staged at La Fenice Opera House. The fifty-sixth edition of the Venice Biennale opens May 9 with previews beginning May 6, and runs through November 22.

Rirkrit Tiravanija:

Fiona Connor at Minerva Sydney

9 May – 20 June, 2015
Opening: 9 May, 4-6 PM
"Have It Your Way"
Will Benedict & David Leonard, Fiona Connor,
Joshua Petherick, Puppies Puppies

Minerva, Sydney supports an authentic exchange of critical discussion and considered viewing inside macro and micro views of contemporary art. The non-hierarchical model strongly informed by a program of local and international artists, writers, and curators.


25 April - 11 July 2015

Von Bartha in Basel, Switzerland, is hosting its first solo exhibition with the Copenhagen-based art group SUPERFLEX, entitled "Eurphoria Now".

Both new works and past works will be displayed at the exhibition, which features large-scale installations and films.

via en.artmediaagency

Charline von Heyl 'Why Not?' at Corbett vs. Dempsey

Charline von Heyl, Duck and Friends, 2014


Opening reception: Thursday April 30 from 6 - 8 PM

Show runs through June 6, 2015

Corbett vs. Dempsey

1120 N. Ashland Ave., 3rd Floor

Chicago, IL 60622

Charline von Heyl Review in NY Times

A 1995 Charline von Heyl at Petzel.

New York Times Review: Charline von Heyl, 'Dusseldorf: Paintings from the Early 1990s'

Picturing the Cosmos: Creative Minds: Diana Thater

Photo via

Picturing the Cosmos: Creative Minds: Diana Thater

Stanford University art historian Elizabeth Kessler will be in conversation with Diana Thater regarding her San Jose Museum of Art installation "Science, Fiction," focused on dung beetles' use of the Milky Way to orient themselves.

7PM, Thursday, April 23.

Cost: $10

San Jose Museum of Art

110 S. Market St.

San Jose, CA

"Beta Space: Diana Thater" runs through Sept. 13

via SF Gate

Paul Winstanley at Mitchell-Innes & Nash, June 5 - July 10, 2015

Paul Winstanley, Art School 37. Oil on panel.

Paul Winstanley - Solo Exhibition

June 5 - July 10, 2015

Mitchell-Innes & Nash

534 W. 26th Street

New York, NY


Rikrit Tiravanija Collaborating with Chef and Architects for New Project at Art Basel

This year’s edition of Art Basel in Switzerland will feature a specially commissioned collaborative sculpture and performative work by Rirkrit Tiravanija, architects Nikolaus Hirsch and Michel Müller, and chef Antto Melasniemi, titled DO WE DREAM UNDER THE SAME SKY. “Creating a place of hospitality, visitors can engage through the activities on offer, such as the drinking of herbal tea plucked fresh from the on-site garden, the preparation and eating of food,” the organization said in a statement. “The food will be rooted in Thai tradition and will be available with no fixed schedule, menu or price list: compensation is self-determined, by self-serving, serving others, donations or even participating in the cooking or washing up.

via Art Observed

Ann Veronica Janssens in DAMn No. 49

Ann Veronica Janssens is featured in DAMn No. 49.

Available at Artbooks PS1 or email

Diana Thater feature in Time Out (London)

"Diana Thater Interview"

 By Freire Barnes, April 8, 2015