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.
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.
"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.
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, "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, 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.
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.
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.
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. www.356mission.com
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!  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!  silent auction on May 27 - May 30 with an Artist Reception on Thursday, May 28 from 6-9PM at 1301PE. Bidding concludes at Blast! , 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!  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 Castańo, 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 http://sassas.org/auction and continue bidding until the final gavel at 7pm on May 31.
Blast!  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!  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!  tickets and SASSAS Memberships can be purchased at http://www.sassas.org. 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 http://www.sassas.org.
Blast!  Auction Committee: Cindy Bernard, Gabriel Cifarelli, Carole Ann Klonarides, Katherine Niemela, Fredrik Nilsen, Christina Ondrus, Renée Petropoulos
Blast!  Performance Committee: Daniel Corral, Danny Gromfin, Greg Lenczycki, Tom Recchion, Joe Potts
DETAILS ON SASSAS – 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.
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.
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.
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.
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.
"Dolphins, gorillas, dung beetles, and now monkeys - Diana Thater has filmed all sorts of animals for her captivating video installations that examine how we interact with nature and our surroundings. The LA-based artist talks about not being an adventurer, her love of David Attenborough, and the theatricality of religion."
Rirkrit Tiravanija, untitled 2015 (Eau de RRose of Damascus). Commissioned by Sharjah Art Foundation. Image courtesy of the artist and Sharjah Art Foundation. Photo by Shanavas Jamaluddin.
"Sharjah Biennial 12: The past, the present, the possible"
For the Biennial, Rirkrit Tiravanija constructed an elaborate rose garden within the courtyard of the Calligraphers' Studios, outfitting it with a rosewater distillery and kitchen, where visitors are invited to eat fragrant rosewater delicacies while relaxing atop ottomans in the lounge...
The Biennial continues until June 5 and marks the most expansive edition to date, with locations spread throughout the city and into far-flung corners of the Emirate." via Huffington Post
New exhibition celebrates Le Corbusier, through the eyes of those he influenced. The show, which coincides with the 50th anniversary of Le Corbusier's death, serves as an imaginative counterpoint to the career survey of the Modernist Swiss architect's work that will begin at the Centre Pompidou later this month. "Re-Corbusier" features work by Jorge Pardo, Olaf Nicolai, Michel Aubry, and more. via tmagazine
On view now through July at Maison La Roche, Paris
SCREENING AND LIVE EVENT: Downtown New York Film: The 1970's and 1980's launches today with Amos Poe's "Unmade Beds" and short films by Jack Goldstein, Cindy Sherman, and Ericka Beckman at 3PM. With Amos Poe in person.
Tickets are $12 for adults, $9 for senior citizens, and students and $6 for children.
Museum of the Moving Image is located at 36-01 35th Ave. in Astoria.
This exhibition features details of artworks by 118 artists to create a huge collage of images. Reproduced close-ups allow viewers to focus on brush strokes, surfaces, and minutiae of paintings. The exhibition launched at H-Project Space, Bangkok in June, and toured to Transition Gallery in London and now for its final venue, The Usher Gallery, London.
Kerry Tribe - "Critical Mass" Starring Emelie O'Hara and Nick Huff Ben Vida - "Slipping Control" With Ben Vida on electronics and Mecca Vazie Andrews and Tara Jane O'Neil on vocals. Plus Austin Meredith's "LOOP" Sunday, March 22 at 7 PM
Charline von Heyl and Mark Godfrey, Curator of International Art, Tate Modern, London
Join us for a series of one-on-one conversations between curators and painters in front of their paintings on view in the exhibition The Forever Now: Contemporary Painting in an Atemporal World. All conversations take place in The International Council of The Museum of Modern Art Exhibition Gallery, sixth floor, unless otherwise noted. Seating is extremely limited.
Public Opening for SITE 20 Years / 20 Shows SPRING
Friday, Mar 13, 2015 at 5 - 7 pm
SITE 20 Years / 20 Shows, is a yearlong series of 20 projects including exhibitions and special events. The three-part series celebrates SITE's dynamic exhibition history by reconnecting with 20 artists who have showed at SITE over the years and inviting them to return to SITE to present new work, sometimes in collaboration with other artists and creative producers. The first installment Spring features the works of Gregory Crewdson, Deborah Grant, Roxy Paine, Mary Reid Kelley with Patrick Kelley, Rose B. Simpson, and Jessica Stockholder.
"Petzel Gallery is delighted to announce the inauguration of our new uptown location with an exhibition of early paintings by Charline von Heyl. The group of paintings assembled was previously exhibited in Cologne and Munich between 1991 and 1995, before the artist moved to New York. This will be the first showing of the work in the United States. The exhibition will be accompanied by a catalog with an interview between Isabelle Graw and the artist. " via Petzel
"Perhaps it is Parker Ito's elastic installation in a warehouse behind Chateau Shatto that best reflects our current moment of fingered screens, zooming surfaces, and gleaming connectivity. Or maybe it is Liz Craft's web of yarn, skeletons, speech bubbles, and ceramic dicks at Jenny's that offers a timely response to our present social and aesthetic desires by way of desublimated Pop scenery. Another approach: Fiona Connor's exhibition, "Community Notice Boards," addresses the influence of Internet technologies on new modes of communication by calling on the social networks of sites experienced IRL only. By re-creating a cross section of bulletin boards sourced from Laundromats, libraries, cafes, and other public spaces throughout the city, Connor negotiates the "found object" as something closer to reproducible image rather than salvaged assemblage or purchased readymade. While these notice boards have been reconstructed in structural and material likeness of the "originals," their faded flyers and scrappy ephemera have been meticulously replicated on aluminum sheets rather than on paper: "Do you have a drug problem?"; "Clases de inglés gratis"; "I buy houses."
Connor's material sleight of hand is a critical act of preservation, one that attempts to underscore how proximity and place now contend with more immediate and immaterial means of communication. Documenting its own obsolescence, Community Notice Board (La Brea), 2015, displays little more than vandalized cork, lone pushpins, and traces of paper. If these boards evoke a sense of loss, the effect is not quite nostalgic—their cheerless condition hardly induces sentimental longing for the past. What does it mean to preserve media and materiality in the privileged space of art? Connor's practice seems to suggest there are larger implications for the work of art and its engagement with the social that exceed the immediate pre/post-Internet binary of our contemporary technological moment."
Arin Rungjang, Golden Teardrop (installation view), 2013. Courtesy of the artist and the Office of Contemporary Art and Culture.
"Much of Tiravanija's work – whether it is an installation, a print, a documentary, or a curatorial project – fosters the direct and creative engagement of the viewer, user, or participant. He is particularly known for his projects where "things" function as props for visitors to create something of their own, and his interest in how cultural products can foster social production of one kind or another. As a curator, he looks for relationships between his own practice and that of other artists, yielding a rich map of his role as a hyper-connector." Read the full article here
Internationally acclaimed artist Rirkrit Tiravanija (AIR '15), known for his groundbreaking contributions in the realm of social practice, will orchestrate a shared meal with a mixed menu based on what is fresh and locally available. As we eat together, Tiravanija will talk about various processes and projects that blur the line between artist and viewer, and ask how an artwork might leave a lasting impression when its medium is something as finite as food. Setting the table in Headlands' historic Mess Hall-renovated by artist Ann Hamilton-this gathering invites visitors to engage with art in an exceptionally sociable way.
This event is co-presented with Yerba Buena Center for the Arts in conjunction with Tiravanija's recently curated exhibition The Way Things Go. On view at YBCA February 13-June 21, 2015.
Still from SUPERFLEX, "The Financial Crisis," 2009
The exhibitionGroup Therapy: Mental distress in a digital age will be showing at FACT (Foundation for Art and Creative Technology) between 5 March – 17 May 2015. Originating from FACT's extensive work within mental health and well-being, the exhibition explores the complex relationship between technology, society, and mental health.
Works featured include Superflex's video installation The Financial Crisis, which illustrates the 2008 market crash from a therapeutic perspective, and highlights the correlation between financial risk, anxiety and emotional distress.
Pae White stands amongst her collection of Vera Newman scarves at the Magnificent Obsessions show. Photo: Peter Macdiarmid/Getty Images Europe
'Magnificent Obsessions: The Artist as Collector' is the first major exhibition in the UK to present the personal collections of post-war and contemporary artists. Ranging from mass-produced memorabilia and popular collectibles to one-of-a-kind curiosities, rare artifacts and specimens, these collections provide insight into the inspirations, influences, motives and obsessions of artists.