Gallery News

 
New York Times: Judy Ledgerwood, Pussy Poppin' Power
 


Working with spontaneous panache, the Chicago artist Judy Ledgerwood paints expansive, boldly colorful grid-based abstractions. An infectious exuberance animates her new canvases in an exhilarating exhibition at Tracy Williams on the Lower East Side.

The paintings consist mainly of rows of diamond shapes that combine into optically percussive argyle patterns. Enhancing the rhythms, thick and thin dots of paint punctuate the lozenges. In "Mountain," the show's biggest piece at 7½ feet by 12 feet, three horizontal rows of spotted diamonds in many colors fill the viewer's visual field with a strobing fabric of syncopating voluptuousness.

A distinctive feature is how Ms. Ledgerwood shapes her compositions. She leaves white borders around the edges of the canvases, as if the overall designs were tapestries or quilts pinned by the upper corners to white walls. They seem to droop and bow outward, creating paradoxical fusions of actuality and virtuality. Drips of paint falling over the white, lower edges of the canvases further confound the dichotomy of the real and the illusory.

This may sound complicated in theory, but on canvas it's perfectly clear. Painting with the carefree abandon of an improvising jazz musician, Ms. Ledgerwood makes what's hard look easy. - Ken Johnson

 
 
Hyperallergic: Sexual Abstraction: Judy Ledgerwood’s Recent Paintings
 

If, as Amy Sillman has said, "The elephant in the room is sex," Judy Ledgerwood's paintings ask the viewer: What exactly do you think you are looking at? The viewer sees a shaped rectangle painted onto an immaculate white ground. A catenary seems to have been used to determine the rectangle's top curved edge, while both sides bow in slightly, bringing to mind textiles hanging on a laundry line. A few rivulets of paint drip down from the rectangle's uneven bottom edge. Meanwhile, the thick stretcher bars turn the painting into an object protruding from the wall, rather than a flat thing hugging it.

In a public conversation I had with the artist the day after her show, "Judy Ledgerwood: Pussy Poppin' Power," opened at Tracy Williams (May 7 – June 16, 2016), it was evident how clearly she had thought about all the issues – including the relationship between painting and architecture – that I've just described. Her paintings are what David Reed would call "bedroom paintings." In her case, this means diamond-patterned grids in which emblems of sexual desire disrupt the comforting visual rhythms we associate with modular units and repetition.


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Paul Winstanley in coonversation with Charlotte Mullins
 

Artist Paul Winstanley speaks to historian, writer and broadcaster Charlotte Mullins about his new body of paintings and prints that depict the interiors of British art schools in conjunction with the exhibition 'Paul Winstanley | Art School: New Prints and Panel Paintings at Alan Cristea Gallery, 17 March - 7 May 2016.

During the summer months of 2011 and 2012 Paul Winstanley traveled throughout England, Scotland and Wales photographing unpopulated art school studios, including the iconic Mackintosh Building, Glasgow School of Art, that was later severely damaged by fire in 2014. The imagery, selected from over 200 photographs, provided the source material for this new series of work.

View video of conversation here

 
 
SUPERFLEX participates at Emscher Kunst 2016
 

Photo: SUPERFLEX

4 June - 18 September 2016

SUPERFLEX presents the new work Waste Water Fountain at Emscher Kunst 2016, a 50km long Art Trail that stretches between the cities of Holzwickede, Dortmund, Castrop-Rauxel, Recklinghausen and Herne in Germany. With this work, SUPERFLEX erects a temporary memorial in form of a great fountain amidst the course of a river still carrying waste water on site, at the Stadthafen in Recklinghausen. The Emscher's industrial image, an open waste water canal, reminds the artists of open intestines, our vital organ. Superflex celebrates the waste water for 100 days of Emscherkunst before it soon vanishes underground completely due to the Emscher conversion.

The Emscherkunst accompanies the development of a natural riverscape in the heart of the Ruhr area as a triennial. In a generational project, the open waste water canal Emscher is being converted to a close-to-nature river since the 1990s.The river's's waste water is conducted with pumps through the more than 4m high sculpture. It rises over the water surface and ground level and vehemently enters the observer's view, equally showing uninhibited passion for breaking taboos and also delight for the absurd. The get-together of all our waste that used to be part of us, and the participation in a universal process of degradation shall also be celebrated, according to Superflex.

More information here.

 
 
Rirkrit Tiravanija: Tomorrow is the Question at the Stedelijk Museum Amsterdam
 


Rirkrit Tiravanija, untitled 2012 (who if not we should at least try to imagine the future, again) (remember Julius Koller). 14 mirror polished stainless steel ping pong tables, Gavin Brown Enterprise, NY. Photo: Thomas Müller

Rirkrit Tiravanija

Tomorrow is the Question

A co-production of Holland Festival and the Stedelijk Museum Amsterdam

June 4–26, 2016

Thai artist Rirkrit Tiravanija (1961) creates art that explores human social interaction. In Tomorrow is the Question, he will set up a series of stainless steel ping pong tables and invite the public to participate in his work. Tiravanija has staged exhibitions at venues throughout the world. Tomorrow is the Question (2015)—previously presented in Moscow, Arles, France, and elsewhere—marks the artist's debut in Amsterdam. Tiravanija is seen as one of the most influential multimedia artists of his generation.

With his installation on the Museumplein, Tiravanija blurs the line between art and life. The work playfully confronts traditional ways of viewing art in classic Tiravanija style, as well as the etiquette that goes with it. As an alternative, the artist offers a more theatrical and social—and more enjoyable—experience. Tiravanija sees art as something artist and viewer create together, a process where people can be social beings, preferably outside the rarified realm of the gallery space. "It is not what you see that is important, but what takes place between people," says Tiravanija.

The social interaction that Tiravanija pursues with this project has different historical references, from the ping pong matches organized at a gallery in Bratislava as a way of communicating by Slovakian artist Július Koller in the 1970s, to the Ping Pong Diplomacy of the United States during the Cold War period. In 1971, the US organized a ping pong tournament between American and Chinese players, under the motto "Friendship First, Competition Second."

The work is accessible to everyone and free of charge. Ping pong paddles and balls can be borrowed from a distribution point on Museumplein.

More information here

 
 
Fiona Connor: Newspaper Reading Club in Routine Pleasures, MAK Schindler House
 

Opening Reception: Wednesday, May 25, 2016, 7-9 PM

Wednesday, May 25 – Sunday, August 14, 2016   

Schindler House
835 N Kings Road
West Hollywood, CA 90069

Routine Pleasures brings together artists working in a variety of media to explore "the termite tendency," a concept introduced by artist and film critic Manny Farber (1917–2008) in his 1962 essay "White Elephant Art vs. Termite Art." Whereas the original essay applied these labels to the work of filmmakers, exhibition organizer Michael Ned Holte finds manifold parallels in contemporary art.

In today's overheated art world, it is easy to see a preponderance of "white elephant" art, defined by Farber as "yawning production of overripe technique shrieking with preciosity, fame, ambition." Routine Pleasures presents practitioners who embrace a quieter, more process-oriented approach. Like termites, these artists focus closely on what is before them, and follow the work wherever it may lead, often in diffuse directions. To locate and expand upon Farber's construct of the termite tendency, the exhibition features works by: James Benning; Jennifer Bornstein; Center for Land Use Interpretation; Harry Dodge; Manny Farber; Judy Fiskin; Magdalena Suarez Frimkess and Michael Frimkess; Galería Perdida; Sarah Lehrer-Graiwer; Simon Leung; Lucky Dragons; Roy McMakin; Carter Mull; Newspaper Reading Club; Pauline Oliveros; and Steve Roden.

More information here.

 
 
Jessica Stockholder: Colour Jam Houston
 

Color Jam HoustonAn urban architecture activation by Jessica Stockholder will paint the intersection and run up the walls of the buildings at Main & McKinney streets. Photo: Houston Downtown District

Color Jam Houston treats the intersection of Main and McKinney as a single public canvas. The stripes of color on the four corners seem to be woven together and present a kind of basket. The weaving of different stripes together into a single whole is resonant with the reality of different owners, jurisdictions and codes that govern this section of public space consisting of crosswalk, roadway, sidewalk, store fronts and Metro platform. The work also signifies the delicate social and political balance that exists between individual rights, freedoms, responsibilities and our collective well-being and coexistence.


More information here.

 
 
KCET: Current:LA, A New Public Art Biennial
 

A recent mayoral announcement officially launched the Department of Cultural Affairs’ new Current:LA initiative, an issues-driven public art biennial whose inaugural edition happens at non-traditional locations scattered across the city in July and August. The first edition, Current:LA Water, addresses the multivalent topic of water’s usage, history, and role in the city’s physical and social infrastructure. This includes the L.A. River, but as the organizers are quick to point out, it is about so much more than just the river. There's water infrastructure throughout the city from the Port of L.A. (San Pedro) to the L.A. wetlands of Ballona Creek, to Hansen Dam in the north), and of course, the coast.

The DCA’s Public Art Division is using $1 million received through a grant program of the Bloomberg Philanthropies’ Public Art Challenge, plus matching funds from the city’s Arts Development Fee (ADF) program, more commonly known as the percent-for-art program that taps developers and other kinds of businesses for sustaining funds for what is usually permanent works of public art. But forget that abstract-sculpture-in-a-plaza model of public art; the Bloomberg grant specifically called for temporary public art projects and public programs at outdoor locations, and the DCA has embraced this paradigm shift with an enthusiast, open-minded can-do spirit taking full advantage of what DCA general manager Danielle Brazell calls “L.A.’s inspired moment.”  

Besides reframing the conversation on what public art can be, Current:LA is also reconfiguring assumptions about what a biennial looks like.

Click here for full text.

 
 
Current:LA Water with Rirkrit Tiravanija and Kerry Tribe
 


Image result for current la water art

via the LA Times:

Mayor Eric Garcetti announces artists for L.A.'s first public art biennial to be held this summer

More than a dozen artists — including L.A.-based Kori Newkirk, Edgar Arceneaux, Gala Porras-Kim and Michael Parker — have been selected to participate in Los Angeles' first public art biennial, Mayor Eric Garcetti announced at a news conference early Tuesday afternoon.

The "Current:LA Water" exhibition will consist of temporary outdoor installations that will go up throughout the city this summer, all focused on the theme of water.

The project was initiated by the Public Art Division at the Department of Cultural Affairs and is supported by a $1-million grant from Bloomberg Philanthropies, and other financial support.

Felicia Filer, the director of the Department of Cultural Affairs' public art division, said in a statement that the line-up is "an exciting group of internationally recognized and emerging talents that are as culturally diverse as the inhabitants of Los Angeles."

This includes video artist Kerry Tribe, conceptual artist Rirkrit Tiravanija, installation artist Teresa Margolles and social practice pioneer Mel Chin. Also on the list are the sound duo Lucky Dragons (Luke Fischbeck and Sarah Rara), sculptor Candice Lin, sound and performance artist Chris Kallmyer and two artist teams — Josh Callaghan and Daveed Kapoor, and Refik Anadol and Peggy Weil.

Biennial artists were selected by a curatorial committee that includes Ruth Estévez of REDCAT; Rita Gonzalez from LACMA; Karen Moss, an art historian and curator who also teaches at the Otis College of Art and Design; and Irene Tsatsos, the chief curator at the Armory Center for the Arts in Pasadena.

"Current:LA Water" will be on view throughout Los Angeles in July and August.


More info here. LA Times article here.

 
 
Fiona Connor: Canyon School up for auction to benefit Canyon Charter School
 

Fiona Connor

Canyon School, 2016

ink on paper

10 x 14 inches


Click here to bid on the work.

All benefits go to the Canyon Charter School in Santa Monica. The auction concludes on April 24th at the Canyon's Fiesta and Auction, 11am - 4pm.

More information here.

 
 
Artnet: Superflex's Readymade Medical Equipment is Now in Use in a Gaza Hospital
 

Superflex's 2014-15 exhibition "Hospital Equipment," at the Den Frie Center for Contemporary Art.<br>Photo: Anders Sune Berg, courtesy Superflex.

Superflex's 2014-15 exhibition "Hospital Equipment," at the Den Frie Center for Contemporary Art. Photo: Anders Sune Berg, courtesy Superflex.

Casualties of recent fighting in the Gaza Strip may well find themselves undergoing surgery atop an operating table that is also an artwork. In what the three-man Danish collective Superflex calls a "readymade upside-down," the artists organized for a museum exhibition of top-of-the-line medical equipment which then went to a setting defined less by well-heeled visitors than by life-threatening injuries.

As a result, Al-Shifa Hospital is the beneficiary of some $90,000 worth of goods, including the operating table and surgical lamps, with the financial support of Danish product design company Area9, which is one of three private collectors to acquire the piece. The table itself, the motorized, highly mobile Trumpf Medical MARS model, represented more than half the cost. The choice of equipment was guided by by PalMed, an organization of medical professionals who aim to provide improved care for Palestinians living in Gaza. Al-Shifa treated the largest number of victims of the most recent conflict in Gaza, says Dr. Mahmoud Ismail, head of PalMed's Danish office, in a press release.

Working together since 1993, the artists (Bjørnstjerne Christiansen, Jakob Fenger, and Rasmus Nielsen) have created socially-engaged projects in various mediums that examine the baleful effects of capitalism via financial and banking structures, the place of fossil fuel in the global economy, and systems of free trade, among other subjects.

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Huffington Post on Ana Prvacki: A Catalogue Of Wonderfully Useless Ideas Highlights The Power Of Imagination
 

Artist Ana Prvacki dares to imagine how our smallest, most absurd ideas can change the world.


A great gift -- one that's significant, thoughtful, filled with meaning, big -- can be, despite all good intentions, somewhat of a drag. The time, money, thought and resources that go into a diligently assembled gift can leave the recipient with a combination of appreciation and anxiety, grateful for the magnanimous offering but nervous for when, if, and how the service will be repaid.

That's why, for me, the most generous gifts are not the large ones that come elaborately wrapped up on holidays with a big bow on top. Instead, they're the ones that come unexpectedly and with joyful ease -- a note on your pillow, a candy on your desk -- gestures weightless and light as air.

Ana Prvacki's artworks are such gestures. While most art grapples with Big issues like Death, Sex, God, History, The Color Blue -- Prvacki's preferred concepts are simple and succinct. For example, how to properly alert your friend to the small leaf of spinach caught between her incisors.

- Priscilla Frank

Click here for full text and images.

 
 
Artforum.com: Fiona Banner Critics' Pick
 

An unflattering view of a power suit’s trousers greets visitors to Fiona Banner’s exhibition: aqueous gray lines diverge down a big Day-Glo orange sheet to form Pinstripe Bum Face, 2015. If the intrepid financiers who steered the 2008 banking crisis sought unregulated waters, Banner finds premonitions of our recessional present in Joseph Conrad’s Heart of Darkness (1899). The novel opens on a dusky River Thames; Orson Welles set his unrealized screen adaptation on the Hudson—both waterways opened the world’s oceans to the West’s colonizing, commercial capitals. It is not lost on Banner that these waters now conceal the gangly fiber optics that keep both cities at the mouths of more ephemeral trade.

Upstairs is a salon hang of posters and prints incorporating Conrad quotes and ISBN numbers, as if posing the shadowy Company that sends Marlow after Kurtz as a venerable publisher of art books. Among them are a graphite rubbing of a brass placard that reads Power, 2016, and Thames and Hudson Nude, 2012, a silk screen of a woman’s silhouette beside a page of Welles’s script. On a nearby plinth sits a copy of Banner’s own Heart of Darkness, 2015, a September issue–size magazine lavishly illustrated with glossy shots of London’s financial district taken by Paolo Pellegrin, a conflict photographer. In the HD video Phantom, 2015, a drone tracks a copy of Banner’s book as strong winds push it across a parking lot. Its pages—flapping to shreds—flash a colonnade, a revolving door, and a spread of waves.

For Conrad, madness follows mere corruption. For Banner, this holds true. In Mistah Bag, 2015, the phrase “Mistah Kurtz he not dead”—the artist’s revision of Conrad’s famous line—appears in gold serif on a black plastic shopping bag. The body may be buried, but the spirit still sails.

— Travis Diehl

 
 
KCRW: Hunter Drohojowska-Philp on Fiona Banner's Heart of Darkness
 

Heart of Darkness, the 1899 novella by British author Joseph Conrad, is the story of the mysterious character Captain Kurtz as remembered by the captain of a steamer traveling up the Congo River. Loosely based on Conrad's own experience as a young seaman, it is written in a deeply descriptive and symbolically-charged manner that has attracted a number of reinterpretations including a film never realized by Orson Welles and, possibly the best known version, the 1979 film Apocalypse Now.

British artist Fiona Banner has been mining this fictional territory at least since her 1999 Nam, a "wordscape" describing the violence in that and various other films about the Vietnam War. In this show, she applies the book's metaphorical observations to business conducted in the City of London, a financial heart of darkness in this context, where the brokerages are centered. If morally abhorrent actions in the book are driven by greed, Banner's work suggests that parallels can be found in the capitalist motives of the City.

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The Wall Street Journal: ‘Ann Veronica Janssens’ Review: Lights, Color, Action
 

The most civilized spot in this city of sprawl, tall buildings, shopping malls and a spider's web of highways is one of Renzo Piano's great buildings, the Nasher Sculpture Center in the downtown arts district. Until several years ago, at the end of its stately garden filled with masterpieces by Rodin, Picasso, Calder, De Kooning, Moore, Di Suvero, George Segal and Richard Serra, there also stood one of James Turrell's "sky spaces," an enclosed room in which a visitor could look up at the changing heavens. As a consequence of a continuing dispute with a neighboring condominium tower whose height eradicated the room's sky view, the piece has been closed permanently.

Mr. Turrell is a master of light. Now, another master of light's uses and effects, Ann Veronica Janssens (British born; Belgian based), is having her first solo American show here. Outside, to the right of the Nasher's main entrance, "Green Aurora" is a small, projected light piece, barely noticeable. Indoors, placed diagonally on the floor, lies "IPE 700," a single 23-foot-long steel I-beam, its top side polished and reflective. In its solid materiality, this is the most conventional of Ms. Janssen's works here. As you look around you, materiality gives way to light and lightness. Four pieces she calls "Aquariums," variations on a theme, of identical size (21 5/8 inches cubed) and made of glass, distilled water, paraffin oil, and ink or silkscreen, stand atop identical wooden bases. They refract the light, and they also reflect Mr. Piano's signature grids for the Nasher roof above. Each is titled and colored differently: "Cocktail Sculpture" is pure glass; the others are called "Orange," "Margarita," and "Blue Wind" for their main shades. They will remind viewers of Donald Judd's 100 milled aluminum boxes in Marfa, Texas.

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art Magazin: Ana Prvački
 

Aktuell überschätzt: Das Original! In L. A. verkauft die Künstlerin Ana Prvački für viel Geld die Schattenwürfe berühmter Kunstwerke – thanks to Marcel Duchamp


Dass auf unserer Gegenwart der lange Schatten der Vergangenheit ruht, ist eine häufig bemühte Metapher, die man eigentlich nicht mehr hören mag. Nur in der Kunst, wo gern alte Ideen re­cycelt werden, lässt sich so eine abgegriffene Erkenntnis noch in Gold verwandeln. Ana Prvački jedenfalls hat das mit dem Schatten wörtlich genommen und stellt in der 1301pe-Galerie in Los Angeles die Schattenwürfe berühmter Skulpturen aus: Michelangelos David, den Schreitenden von Alberto Giacometti, Constan­tin Brâncusis Endlose Säule und natürlich auch Marcel Duchamps Fahrrad­Rad. Nicht die Skulpturen selbst, wohlgemerkt, sondern nur die Silhouetten, die sie auf dem Boden oder an der Wand hinterlassen. Die 1976 im ehemaligen Jugoslawien geborene Künstlerin nennt ihre neue Werkserie Stealing Shadows und bedient sich dabei natürlich ganz bewusst einem der größten Erfolgsmodelle der Moderne: dem Prinzip des Readymade (siehe auch Seite 34) und dessen Wiedergänger Appropriation Art. Größe und Material der Schattenwürfe sind variabel – auf Wunsch können sie auf den Boden aufgemalt oder als ausgeschnittener Filzbelag erworben werden. Der Preis der »gestohlenen Schatten« ist hingegen nicht verhandelbar. Er bemisst sich am Wert des Originalwerks und soll exakt ein Prozent des Preises sein, den die jeweilige Skulptur auf einer Auktion erzielt hat, so hat es die Künstlerin verfügt. Der Schatten von Louise Bourgeois’ Bronzespinne beispielsweise ist mit 281 650 US­Dollar ausgezeichnet, weil eben dieses Werk letztes Jahr bei christie’s für das Hundertfache versteigert wurde. Stolzer Preis für den Umriss eines Kunstwerks, den man mit Taschenlampe und Photoshop auch selber herstellen könnte. Aber wer so denkt, hat eben Marcel Duchamp nicht verstanden. Nicht das Werk zählt, sondern die Idee, lautet das Mantra der Moderne. So gesehen liegt Prvačkis konzeptuelle Schattenkunst ganz weit vorn. Denn wer will sich in unsicheren Zeiten noch mit zentnerschweren Skulpturen belasten? Oder wie die Künstlerin sagt: »Auch wenn es eine sehr einfache Idee ist, ist sie doch sehr wertvoll. Dünnere Dinge zu machen sollte sogar mehr Wert haben als große Dinge.«


- Ute Thon

 
 
New York Times: Ann Veronica Janssens Casts Strong Beams at Bortolami
 

http://static01.nyt.com/images/2016/01/22/arts/22JANSSENSGALLERY1/22JANSSENSGALLERY1-master675.jpg

The work of Ann Veronica Janssens, a British artist who lives in Brussels, precipitates the heightened optical and spatial awareness similar to that of Light and Space but without the often attendant fuss that seems antithetical to the movement’s less-is-more, dematerialized aesthetic. At least as seen here, in her first solo show in the United States, Ms. Janssens’s efforts avoid the more grandiose Light and Space hallmarks, including the immaculate built-out environments, computerized light shows and viewers removing their shoes. The results are less immersive, but more thought-provoking.

At Bortolami, Ms. Janssens, who has shown in Europe since the early 1980s, presents six eye-teasing works. The most immediately arresting is a thick layer of aqua-blue glitter, spread on the floor. About the size of a kiddie pool, it is lush and dazzling and flashes shades of green and yellow as you circumnavigate it, almost as if its surface were moving.

More understated are two modest sheets of corrugated aluminum that jut out from two walls, tilting upward, a little like awnings. They seem to levitate, delicately shaded on their undersides and glowing on top, as if harboring concealed lights. Actually, the aluminum is covered with platinum leaf, and each piece is fittingly titled “Moonlight,” which is, of course, all reflected. A narrow portion of vertical blinds, titled “California,” also seems lighted from within but is simply covered with gold leaf. The show culminates in a room where seven spotlights with pink gels form a circle on one wall while a haze machine lends heft to their crossing beams, which cast a lotuslike pattern on the opposite wall. These pieces might weaken if seen separately, but together their trick-free, low-tech magic is refreshing.


- Roberta Smith

 
 
Glasstire: Top Five: Ann Veronica Janssens
 

janssens nasher sculpture

1. Ann Veronica Janssens
Nasher Sculpture Center (Dallas)
January 23 – April 17

An exhibition of works by Brussels-based artist Ann Veronica Janssens. For this show, Janssens has created sculptures that play with the eye, in which viewers “encounter shifts in surface, depth, and color, challenging perception and destabilizing their sense of sight and space.”


Click here for full text and video.

 
 
Star-Telegram: Artist Ann Veronica Janssens takes us inside the rainbow
 

Artist Ann Veronica Janssens disappearing into her piece, Blue, Red and Yellow at the Nasher Sculpture Center in Dallas on Friday, Jan. 22, 2016.

Ask your children if they would like to take a walk in a rainbow. The answer should be a unanimous yes.

You can deliver on this enticement at the Nasher Sculpture Center in a new exhibit by Belgian artist Ann Veronica Janssens.

Janssens is an artist who manipulates light, and in her piece titled Blue, Red and Yellow, a rainbow of light is encased in a large rectangular box in the Nasher's garden. She fills the box with fog from a fog-producing machine, and as the sunlight streams into the box made of colored plastic panels, it transforms the fog into clouds of color.

Unexpectedly, though, the fog is so saturated that as soon as people enter the cube, they disappear. You can hear them; in fact, audio perception is heightened, but you cannot see them. All that can be seen are the billowing colors that change through the prismatic palette and the tiny optical floaters that are always there on your eyes but are rarely noticed.

It's beyond weird in a wonderful way.

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The Creatorsproject: Throwing Shade—Literally—At the World’s Greatest Art
 

In the increasingly stock market-esque culture that the art world and market have become, the work of a select few artists that entertain billionaire patrons cast shadows upon everyone else's creations. Serbian born, LA-based artist Ana Prvački has opted to explore this metaphor in a literal fashion in her most recent exhibition, Stealing Shadows.

Prvački's show, which opened at LA gallery 1301PE last weekend, consists of the silhouettes and shadows of incredibly familiar works of art. Through projection and in some cases a thin sculpting process, Prvački has created "shadow-artworks" of iconic and easily recognizable pieces, including Jeff Koons' Rabbit and Michelangelo's David.

"I was thinking a lot about the tendency for appropriation and a kind of cleverness towards art history in the contemporary art practice," tells Prvački. "I was intrigued at the possibility of a playful, humorous gesture of stealing shadows but at the same time with the question of value and a critique on pricing."

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Wallpaper: Shadow play: artist Ana Prvački satirises the art market with new works in LA
 


The artist Ana Prvački has imagined the shadows of some of the world’s most famous (and expensive) artworks. Staged at 1301PE, Los Angeles, 'Stealing Shadows' is both a comment on the position of physical production in contemporary art practice and its 'preoccupation with ephemera and mischievous urges', and a critique of the commercial engine of culture. 'Shadows are in the spirit of the moon, they change depending on time of day and the season – just like the art market,' Prvački notes.

Prvački – known for her performance work on consumer aesthetics, gestures and etiquette – has been mulling over the idea since 2007. It comes to fruition following a publication that the artist released last year with the ICA Singapore, a catalogue of her ‘uncomfortable imagination’. In order for the exhibit to work in reality, all of the pieces Prvački selected had to be inscribed on the collective cultural conscience – so that they could be recognised in flat format. This process of eking out iconic contemporary works is revealing in itself, but Prvački is also asking the viewer to contemplate very directly how value is attributed to art, pricing her stolen shadow works in relation to the original. 'Stealing shadows of famous masterpieces and selling them at one per cent of their auction price is both tactical and economical. I think it is a timely project and audiences are really ready to talk about the economy of the art market, the one per cent, the value of art and ideas.'


But can you get your hands on a stolen shadow? The artist explains that she can custom design them to fit any space, and in a variety of formats that range from digital projection, painting or graffiti, or as an animated shadow that moves through a space as an umbra, penumbra or antumbra. 'There is something very poetic and elegant about shadows – I think the subtle yet very graphic nature of shadows appeals to our psyche. There has been great dialogue with artists, collectors, dealers, and copyright lawyers at the exhibition!'

-Charlotte Jansen

 
 
Independent: Ana Prvacki: US artist pays homage to greats by creating shadows of their work
 

Ana Prvacki is living in the shade of other, more famous artists. But if the price of the works she is displaying in a Los Angeles gallery are any guide, there is good money to be made in the shadows. 

The 39-year-old has taken homage to a new level by exhibiting works based on the shadows cast by a series of well-known sculptures. Visitors to the 1301PE gallery can play a game of "name that shadow" with Jeff Koons's Rabbit, Marcel Duchamp's Bicycle Wheel and Michelangelo's David creating some of the most familiar outlines.

Each of the new works costs only one per cent of the original sculpture's current market price, but it's a formula that makes for some eye-watering prices. 

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Artforum: James Nisbet on Jack Goldstein
 


Jack Goldstein, Burning Window, 1977/2015, wood, Plexiglas, acrylic paint, lights, dimensions variable.

Exhibiting three of Jack Goldstein's lesser-known works—his Burning Window installation, 1977/2015, and two sets of text-based Aphorisms (both dated 1982) painted on the gallery wall—this show distilled a tension within Goldstein's practice between mundane observation and metaphysical introspection. Burning Window consists of a single window frame containing four panes of textured Plexiglas placed in the center of a gallery wall that has been painted bloodred. Behind this window, flickering red lights give the appearance of fire. But this faux flame produces no heat. Instead, Burning Window effects an unsettling experience with its uneasy marriage of implied trauma and camp. No spectator of this installation would reasonably assume that Burning Window was intended to simulate an actual fire. Its reality is far more ambiguous. Goldstein commented in the compilation Portfolio Performance, 2001, that "the window functions as a 'safe' but fragile barrier in front of which the spectator is witness to the world outside as a measureless inferno." Burning Window evokes film but is not quite "cinematic"; suggestive of a narrative, in actuality it more acutely dramatizes the staged quality of its moving images. Per Goldstein, the spectacle "calls into question the 'truth' of visual experience."

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LA Times: 'Diana Thater: The Sympathetic Imagination' at LACMA stuns the senses
 

'Diana Thater: The Sympathetic Imagination' stuns the senses

by Sharon Mizota

Walls dissolve in Diana Thater's beautiful, affecting retrospective at the Los Angeles County Museum of Art. For 25 years, the L.A. artist has been creating immersive video installations that appear to breach the contours of the gallery, transporting viewers into other realities: swimming with dolphins, interacting with wolves or exploring the contaminated ruins of the Chernobyl nuclear power plant.

Throughout, Thater has exploited the technology and conventions of video to examine the nature of perception and to probe the fraught line between human and animal.

With just 22 works, "Diana Thater: The Sympathetic Imagination" is tightly focused, somewhat austere but nevertheless stunning. Curators Lynne Cooke of the National Gallery of Art in Washington, D.C., and Christine Y. Kim of LACMA have selected major pieces and given them ample space to play. They forgo wall labels, and some of the room-filling installations overlap a bit, suffusing the space in lovely fields of colored light. (An indispensable gallery guide includes maps, titles and a brief artist statement for each work.) The exhibition is split among three buildings on the LACMA campus, but even this potential disconnect provides welcome breathers from what might otherwise become retinal overload.

Click here for full text.

 
 
KCRW: Edward Goldman on Kirsten Everberg
 

http://www.kcrw.com/news-culture/shows/art-talk/art-of-war-and-peace

"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

PRAZ-DELAVALLADE
5, RUE DES HAUDRIETTES
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


By

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

gorillagorillagorilla


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
 

https://henryart.org/assets/img/Pae-White-big-render_9.17_CROPPED.JPG

Pae White

Command-Shift-4


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


https://henryart.org/exhibitions/pae-white

 
 
Philippe Parreno on the cover of ArtReview
 

http://artreview.com/images/uploads/235437ae68f6e1c3fb552e3bef8e27ee.jpg

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

UK

 
 
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
 

IMG_20150919_163035

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 )

at

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
 


physicsroom.org.nz/exhibitions/christchurch-poster-project

 
 
Ana Prvacki at Contour 7
 


29.08–08.11.2015

MECHELEN


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.

http://contour7.be/en/artists/ana-prvacki

 
 
Ana Prvacki at Istanbul Biennial
 


The 14th Istanbul Biennial

SALTWATER: A Theory of Thought Forms


5 September - 1 November 2015


http://14b.iksv.org/participants.asp?id=35

 
 
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
 

vp

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

hallOfzinOgen

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

VAN HORN
DANIELA STEINFELD 

ACKERSTR. 99
40233 DUESSELDORF
GERMANY

 
 
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
 

1port

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


FRITH STREET GALLERY   

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
MUSEO UNIVERSITARIO ARTE CONTEMPORANEO (MUAC)


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."


http://nymag.com/travel/features/copenhagen-entertainment-2015-7/

 
 
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
 

at150730GalaxyVideo-NOVA-WGBH.jpg
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.

http://www.kcrw.com/news-culture/shows/art-talk/diana-thaters-science-fiction

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

2015-07-07-fountain

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"
 

http://alettertotheunwrittenfuture.org/

 
 
Brian Butler Interview with Yale Radio
 

http://museumofnonvisibleart.com/interviews/brian-buttler/

Hosted by Brainard Carey

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

LAX

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

Kunstpalais

Marktplatz 1

91054 Erlangen

Germany

 
 
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.

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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 artsy.net 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

France


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.

tent

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 crossword@1301PE.com 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