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.

http://www.praz-delavallade.com/exhibitions/upcoming/192/pressrelease/1.html

Blouin Artinfo: Jessica Stockholder Takes Chicago

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

 

 

 

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

— Scott Indrisek

http://blogs.artinfo.com/artintheair/2015/09/22/jessica-stockholder-takes-chicago/

 

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.

http://culturabancodobrasil.com.br/portal/cru-comida-transformacao-e-arte/

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

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