Gallery News

KCRW: Edward Goldman on Kirsten Everberg

"The exhibition of paintings of LA-based artist, Kirsten Everberg, at 1301 PE Gallery will slow you down and put you in a quiet, meditative mood. Everberg traveled to Sweden to the remote island of Faro, where famous film director, Ingmar Bergman, lived for most of his life. Inspired by the architecture and interior of his house, she created a series of oil and enamel paintings, abstract and representational at the same time. The pale light of Nordic White Nights fills the rooms. Everything looks realistic, but strangely mysterious. Stepping close to the paintings, one discovers the elaborate texture of individual brushstrokes, as if enamel and oil are still wet and continue to slowly drip down the canvas"

"One large painting offers a glimpse of Bergman's library, with hundreds of books cramming the shelves. Each book is created by a single brushstroke" at least that is the impression one gets. And this multitude of books and exquisite brushstrokes makes one dream about Bergman's Wild Strawberries, The Seventh Seal, Cries and Whispers, and Fanny and Alexander"

Ana Prvacki: Thirty Shades Of White at Praz Delavallade Paris

Thirty Shades Of White

28 November 2015 - 23 January 2016

Artists: Pierre Ardouvin, Robert Barry, Lisa Beck, Oliver Beer, Florian Bézu, Ulla von Brandenburg, Matthew Chambers, Martin Creed, Trisha Donnelly, Thomas Fougeirol, Fernanda Gomes, Julian Hoeber, Shila Khatami, Jiri Kovanda, Rodrigo Matheus, Fabien Mérelle, Julien Nédélec, Camila Oliveira Fairclough, Laurent Pernot, Ana Prvacki, Joe Reihsen, Ry Rocklen, Analia Saban, Yann Sérandour, Florian Schmidt, Sergio Verastegui, Marnie Weber, Lawrence Weiner, Zoe Williams, John Wood & Paul Harrison

F-75003 PARIS

More info here.

Rirkrit Tiravanija: A Restaurant Where Art is on the Menu in the New York Times

A Restaurant Where Art is on the Menu


In 1992, the art dealer Gavin Brown helped the artist Rirkrit Tiravanija transform 303 Gallery, then on Greene Street, into an operational kitchen for a part performance, part installation piece titled "Untitled (Free)." The seminal solo show, which found the artist serving up gratis curry and rice out of the converted gallery, represented a critical development in Tiravanija's practice. It also marked the beginning of his friendship with Brown, who at the time worked as an assistant at the gallery. Now in the collection of MoMA, "Untitled (Free)" — considered a masterwork of relational aesthetics — was the first of many interactive projects realized by the twosome. Their latest scheme: a gallery-meets-kitchen in Hancock, N.Y. Lovingly referred to as Unclebrother (the name is an inside joke), the hybrid restaurant revives the generous spirit of Tiravanija and Brown's inaugural partnership, but adds in a full-time, brick-and-mortar locale. "It's the first time he's had a commercial kitchen, so it's a departure in that sense," Brown says. "It's a natural progression, in a way. It's about entering into the same place but from a different direction."

Read more here.

Diana Thater in The Wall Street Journal

NATURE PRESERVE | Diana Thater in her studio in the Highland Park neighborhood of Los Angeles.

Film and Video Artist Diana Thater's First Retrospective at LACMA

Known for projects that explore nature and the cosmos, Diana Thater is the focus of Los Angeles County Museum of Art's largest exhibition focused on a female artist

By Carol Kino

IT'S A SMOGGY DAY in Los Angeles, and the artist Diana Thater is walking up the steep, winding path toward the Griffith Observatory, one of the city's most recognizable landmarks. Passing a gauntlet of tourists snapping photos with selfie sticks, Thater, 53, says she realizes the destination seems cliché. But as a self-avowed movie buff who creates film and video installations, Thater is also clearly reveling in the moment, pointing out the James Dean statue, the best place to get a shot of the Hollywood sign and the precise location on the observatory steps where Sal Mineo's character bit the dust in Rebel Without a Cause. "When I was a child I was obsessed with movies," says Thater. "I must have seen thousands." (Perhaps that's the inspiration for her severe bob, which is reminiscent of the hairstyle of silent film star Theda Bara.)

Click here for full text.

Diana Thater: gorillagorillagorilla at Aspen Art Museum

Diana Thater


Nov 6, 2015-Feb 21, 2016

Aspen Art Museum

637 East Hyman Avenue

Aspen, Colorado 81611

More information here.

Uta Barth and Ann Veronica Janssens: Another Minimalism at The Fruitmarket Gallery Edinburgh

Another Minimalism

Art After California Light and Space

Exhibition 14 November 2015 – 21 February 2016

Curated by Melissa E. Feldman

Uta Barth (Germany), Larry Bell (US), Carol Bove (Switzerland), Sarah Braman (US), Tacita Dean (UK), Olafur Eliasson (Denmark), Sam Falls (US), Jeppe Hein (Denmark), Robert Irwin (US), Ann Veronica Janssens (UK), Spencer Finch (US), James Welling (US)

Opening Events Friday 13 November:

Curator's Talk Melissa E. Feldman 5–6pm
Exhibition Preview 6–8pm

The Fruitmarket Gallery

45 Market Street

Edinburgh EH1 1DF

More information here.

Ann Veronica Janssens at S.M.A.K. in Gent

Pae White: Command-Shift-4 at Henry Art Gallery Seattle

Pae White


24 October 2015 — 24 January 2016

Fall Open House:

Thursday 29 October 2015, 7.30 - 10 pm

Henry Art Gallery

University of Washington

15th Ave. NE & NE 41st St.

Seattle, WA 98105

Philippe Parreno on the cover of ArtReview

Following his exhibition at the Armory in New York and in advance of a major show at Milan's Hangar Bicocca later this month, the French artist talks about the the process of exhibition-making. Interview by Tom Eccles

More information here.

Ann Veronica Janssens: States of Mind at Wellcome Collection

Ann Veronica Janssens

States of Mind

15 October 2015 - 3 January 2016

This new installation by Ann Veronica Janssens explores light and colour as she invades the gallery with coloured mist. Colour is caught in a state of suspension, obscuring any detail of surface or depth. Instead, attention is focussed on the process of perception itself. Janssens's work is both disorienting and uplifting as the daily wonder of conscious experience is given renewed emphasis.

Wellcome Collection

183 Euston Road

London NW1 2BE


Blouin Artinfo: 25 Most Collectible Midcareer Artists: Diana Thater

25 Most Collectible Midcareer Artists: Diana Thater

An installation view of Diana Thater's "Science, Fiction" exhibit at David Zwirner, New York.

Since the 1990s, Thater, a pioneer of video art, has been producing video installations that focus on the mechanical aspects of media and the dynamics among humans, animals, and ecosystems across the globe.

"This is a very important moment to reevaluate her impact and her influence and importance in the history of video art and contemporary art in general. People are recognizing how influential she's been," says Justine Durrett, director of sales at David Zwirner in New York, the artist's New York representative since 1993.

The global subject matter of Thater's work resonates with an international collector base and "reaches an audience that goes beyond collectors who are purely interested in video art," says Durrett.

It's uncommon for Thater's work to reach the auction market; only three pieces have sold at auction since 2002. Nine Red Sun, 2000, sold at Lawson Menzies in Kensington, Australia, for $18,000 (est. $21–26,000) in 2002; Perpetual Motion Two, 2005, sold at Christie's South Kensington in September 2010 for an artist record of $77,000 (est. $31–45,000); and in March 2012, Composite Sun Video Wall, 2000, achieved $22,500 (est. $30–40,000) at Christie's New York. David Zwirner's most recent exhibition of the artist's work, "Diana Thater: Science, Fiction," which was on view from January 8 to February 21, 2015, offered works that ranged in price from $150,000 to $300,000. The artist's Starry Messenger, 2014, a nine-monitor video wall depicting the Milky Way, sold for $150,000.

The San Francisco native, who studied art history at New York University and received an mfa from the Art Center College of Design in Pasadena, is currently participating in the 56th Venice Biennale, where her "Vita Vitale" is part of a group show in the Azerbaijan Pavilion until November 22. "Diana Thater: The Sympathetic Imagination," a retrospective, will be on view at the Los Angeles County Museum of Art November 22 through February 21, 2016.

- Liza Muhlfeld

Blouin Artinfo: Jessica Stockholder Takes Chicago


Jessica Stockholder apparently hasn't had a solo outing in Chicago in over two decades, but she's certainly making up for lost time. The artist — known for bright assemblages of consumer goods and other materials — is now a professor and chair of the visual arts department at the University of Chicago. She opened "Door Hinges," an exhibition at Kavi Gupta Gallery, two weeks ago, and she curated a companion show, "Assisted," in the same space; a large new piece dangles from the ceiling of upscale, art-crowd-friendly Chicago restaurant mk; a site-specific piece is also now on view at the Smart Museum of Art.

At Kavi Gupta, pictured above and below, the artist goes big, conscripting a freezer unit, an enormous and clunky desk, and a Smart car into her installations. Another piece sprawls through the entrance foyer, combining energetic wall-painting with driveway safety-mirrors and other found objects; it continues on the second floor of the gallery, as well as on the space's exterior. Stockholder's facility with throwaway plastic consumer detritus — generating a buzz through the artful repurposing of toys, furniture, junk, and raw color — make her a kindred spirit to someone like Iza Genzken.

— Scott Indrisek

Rirkrit Tiravanija: untitled 2015 (tomorrow is on our tongue, as today pass from our lips) at CCBB Centro Cultural Banco do Brasil, Brasilia

Kreëmart + Rirkrit Tiravanija presents

untitled 2015 ( tomorrow is on our tongue, as today pass from our lips )


CCBB Centro Cultural Banco do Brasil - Brasilia

CRU 2015

Kreëmart and Rirkrit Tiravanija have a social understanding of this project. The glass structure, (the laboratory) within the glass house can be understood as a microcosm of itself, or better, of the city we will be using as our platform, Brasilia. The ceiling reiterates the ideas of containment.

Within the laboratory, we will be creating different interpretations (tastes) of a wafer that can be used in the same way as holy bread (Ostia). It would is important to use the same base for the wafer as so the only variable that changes is the taste.
The tastes are based on the concepts: Everest, Pacific, Sahara, Antarctica, Amazon and Iguaçu Falls

The idea behind having the wafer is that it is a very genetic form. The association with the wafer is that of being bland, tasteless. Here, we will give the public a sensorial surprise, an explosion of flavor of different tastes given our separate wafer creations.

Within the lab, there is a table hosting the wafer structure. The laboratory workers will pull one by one out with a tweezer to give the wafer to the public through the glass hole.

We are staging a situation and the public will have a personal experience of it.

The person in the public will have no choice of the taste of their wafer, they will eat that of which is served to them. As to reiterate the idea of giving false autonomy to the public, the public will line up in four different divisions of the space with tubes that connect into the laboratory.

This ties back to a political and social context of having choice between candidates but not really having power or autonomy of ultimate choice. Here the political connotation also ties to the containment within the structure. The public may try to perceive and will have their own ideas of what is happening within the laboratory but this is something that will never be divulged. The glass house is a metaphor for the personas created by a political party, whatever that may be.

There can be a further investigation of concept of what happens within the laboratory. As there is a glass separation of the public and the laboratory, it may be understood as that unreachable, untouchable understanding of production and consumption.

Whether the reaction is pleasure, disgust, confusion – this will be provoked by taste and will arise curiosity. No two people will have the same experience of taste and that exploration and documentation is pertinent.

Fiona Connor: Newspaper Reading Club at The Physics Room

Ana Prvacki at Contour 7



The Family Fig Tree (for the Utopians it's important to see their future spouse naked before marrying them)

video, sound, fig tree, 2′ 34″

Commissioned and produced by CONTOUR 7

Fig leaves have played a significant role in the history of art, covering male and female sexual organs to neutralise the erotic charge of images. Prvački's art explores ways of re-charging the erotic dimension in art, while addressing forms of social intercourse and protocol. In her piece for CONTOUR 7, she ironically plays with a social rule on the island of Utopia and subverts it, while paying respect to the artistic tradition of using fig leaves by placing a fig tree in front of her video. The work finds its point of synthesis in its audio component, which invites the listener into a subliminal trip back in time, covering one generation after another on a family tree and perhaps inviting us to contemplate a primordial scene in the Garden of Eden.

Ana Prvacki at Istanbul Biennial

The 14th Istanbul Biennial

SALTWATER: A Theory of Thought Forms

5 September - 1 November 2015

Charline von Heyl at Galerie Gisela Capitain Cologne

Charline von Heyl

September 5 - October 24, 2015

Galerie Gisela Capitain

St. Apern Straße 26

D - 50667 Cologne

Fiona Banner: Heart of Darkness


Heart of Darkness

By Joseph Conrad

A work by Fiona Banner

Photographs by Paolo Pellegrin

Designer: John Morgan

Four Corners Familiars number 12

In 2012, Fiona Banner was invited to select an exhibition of works drawn from the Archive of Modern Conflict, a London-based collection of photographs and ephemera relating to war and conflict. After much time delving into the archive, Banner observed a lack of images relating to conflict in the here and now. In a reversal of roles, Banner commissioned Paolo Pellegrin, a conflict photographer who has worked extensively in the Congo, to observe the City of London – its streets and trading floors, its costume and strip-clubs – through Conrad's Heart of Darkness. The resulting photographs were first exhibited at Peer, London under the title Mistah Kurtz – He Not Dead.

A selection of these images now form part of the Archive, they can be found filed under 'Heart of Darkness, 2014'. They also form the illustrations for this new publication of Conrad's novella, which takes the form of a luxury magazine.

Heart of Darkness (first published in 1899) is a story of trade and corruption, and of our own conflicts and desires. From a boat moored on the banks of the Thames, Marlow narrates his story in which he travels to the heart of the Congo in search of renegade ivory trader Kurtz, who has mesmerised and enslaved his workers. 

Like many artists of her generation Banner has lived just outside the boundaries of London's financial district since the early 90s observed the area's close proximity to the Square Mile and its apparent separation from it. This publication links with Banner's first artist book The Nam (1997) that references Apocalypse Now, a film that uses Conrad's text as its narrative template.

Jan Albers: hallOfzinOgen at Van Horn Duesseldorf

Jan Albers


5 September - 23 October 2015
Opening Friday 4 September, 6-10 pm



Jessica Stockholder: Rose's Inclination at Smart Museum of Art Chicago

Jessica Stockholder, Rose's Inclination, 2015

Jessica Stockholder: Rose's Inclination

September 12, 2015 – July 2, 2017

In a site-specific Threshold series installation, Jessica Stockholder intersects the Smart’s lobby with a wave of color and texture that climbs to the clerestory, cuts across the floor, and travels outwards into the Museum’s sculpture garden and beyond. Rose’s Inclination makes use of ordinary materials—lamps, paint, Plexiglas, carpet, and garden mulch—to “reach up and out,” altering the physical experience of the Smart Museum’s modernist architecture and landscaped courtyard. The work also repurposes a small section of the previous Threshold commission, a wall painting by Judy Ledgerwood, by agreement of both artists.

Stockholder is Raymond W. and Martha Hilpert Gruner Distinguished Service Professor and Chair of the Department of Visual Art, The University of Chicago. Art21 deemed her “a pioneer of multimedia genre-bending installations that have become a prominent language in contemporary art.” Rose’s Inclination is her second public installation in Chicago since she arrived in 2011—the first being Color Jam (2012), which took over a busy intersection in the Loop and was one of the largest public art installations in the city’s history.

Smart Museum of Art
University of Chicago
5550 S. Greenwood Avenue
Chicago, IL 60637

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