Ana Prvacki's Tent, quintet, bows and elbows
Art Catalogues at LACMA
Sunday, 15 January 4 pm to 6 pm
The tent will activate at 4:15pm | performed by Lyris Quartet
Talk, reception and book signing to follow
Petra Cortright, royal-chat—dispatchesSCANFERLA{ROM-adventures4tattoo-gun}.resx,
2016, digital painting on Sunset Hot Press rag paper, 42 x 30".
Artforum critics' picks: Petra Cortright at Carl Kostyal, London
Petra Cortright at Carl Kostyal, London by Valerie Mindlin
Carl Kostyal | London
12A Savile Row
October 5–November 19
To call Petra Cortright an internet or post-internet artist would be similar to calling Matisse and Monet paint artists. They were painters all right, but that's not really saying much, is it? There is, in Cortright's work, a mesmerizing core of formalism, a newly relevant medium specificity for the cognitive gluttonous distraction of the brazenly immaterial.
"ORANGE BLOSSOM PRINCESS FUCKING BUTTERCUP," Cortright's first solo exhibition at this gallery's London location, brings the manifold beguilements of her digital steamrolling into a tightly delightful showcase of canvases and flat-screen videos. And "flat-screen" is the operative word here. Cortright composes her pieces by layering their copious constituent files into final pancake of Photoshop "mother files." Such works flatten the layered and immersive aspects of the digital economy, simultaneously parading and exacerbating its manipulative properties. Cortright's mother files are built up from the endless iteration of what are profoundly private visual, temporal, and spatial entities. They are the wet-dream actors of adolescent sexual rehearsals, solipsistic webcam posturing, and distracted-browsing self-indulgence. Would you ever act out a real-life equivalent to an emoji in a conversation? Of course not. Cortright's works disrupt the comforting stability that would confine the digital to the servilely personal, and make a frantically gorgeous show of it.
Where Impressionism's heyday hypnotized us with its dynamic vibrancy in indulging the wondrous relish of the ordinary, Cortright's new digital formalism unmoors the cognitive comforts of the private in a seductive sumptuousness of pageantry and inexhaustible possibilities.
View of “Ma,” 2016. From left: Fiona Connor, Ma #2 (Bedroom window of John McLaughlin at his home in Dana Point), 2016; Ma #1 (Bedroom window of John McLaughlin at his home in Dana Point), 2016.
ARTFORUM: Critics' Picks, Ma, Los Angeles
This perversity of proximity is understated, but prevalent in works by Fiona Connor, who also organized the show. In her Ma #1 (Bedroom window of John McLaughlin at his home in Dana Point) and Ma #2 (Bedroom window of John McLaughlin at his home in Dana Point)(both 2016) Connor inlays fragments of the titular painter’s former Southern California home in the walls of the gallery. These literal intrusions of context into the space of the exhibition complicate the internal harmonies of the abstract McLaughlin artwork they face, #13, 1964, a nearly symmetrical, black-and-white, geometric oil painting.
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FIONA CONNOR
Ma #4 – 9 (Newspaper article featuring John McLaughlin from the Los Angeles Times) 1956-87, 2016
Fiona Connor: "Ma" at Chateau Shatto, Los Angeles
Ma
December 10 - January 14
Chateau Shatto
406 W Pico Blvd, Los Angeles, CA 90015
Ma is an exhibition curated by Fiona Connor at Château Shatto, sprung from the artist's encounters with the photographic archives of Frank J. Thomas.
For Ma, Connor has composed a group of works that she understands as being nourished by similar concerns that she first responded to in Frank J. Thomas' photographs, more specifically his documentation of the paintings of John McLaughlin. Ma includes works by Judy Fiskin, Sydney de Jong, John McLaughlin, Frank J. Thomas, Audrey Wollen, Bedros Yeretzian and Fiona Connor. The exhibition design has been undertaken by Sebastian Clough.
Ma is the culmination of a series of projects by Connor including a display case at the Auckland Art Gallery, a lecture at Elam School of Fine Arts at University of Auckland and an exhibition at Minerva in Sydney, Australia. This exhibition takes Connor's research back to Los Angeles, where it began.
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Rirkrit Tiravanija and Tomas Vu Model for RT TV Boards at UNTITLED, Miami Beach
(2016). Courtesy of the artists and Nathalie Karg Gallery.
Artnet: In Miami, Artists Rirkrit Tiravanija and Tomas Vu Will Teach You How to Surf
In Miami, Artists Rirkrit Tiravanija and Tomas Vu Will Teach You How to Surf by Brian Boucher
One of the keys to surviving Art Basel week in Miami Beach is taking advantage of the Atlantic Ocean, and artists Rirkrit Tiravanija and Tomas Vu found the perfect way to bring the experience of art and surf together this year in a joint work titled DO WE DREAM UNDER THE SAME SKY. Billed as a "surf inspired participatory installation," they're offering custom-designed surfboards for UNTITLED visitors to get out into the water.
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Philippe Parreno, The Crowd, 2015 (film still) © Philippe Parreno, Courtesy Pilar Corrias,
Barbara Gladstone, Esther Schipper
Philippe Parreno: "Thenabouts" at ACMI, Australia
Philippe Parreno: Thenabouts
Australian Centre for the Moving Image
6 December 2016 - 13 March 2017
For his first solo exhibition in Australia, Philippe Parreno activates a singular retrospective of his filmic works as a cinematic ensemble in which the artist's films play with temporal and spatial boundaries, guiding the visitor through a complex journey of images, duration, memory, and the passage of time. Controlled live by a gallery technician, no one visit is ever the same.
Portrait courtesy of Petra Cortright's studio.
Arteviste: An Interview with Internet Artist Petra Cortright in Los Angeles, California
An Interview with Internet Artist Petra Cortright in Los Angeles, California by Flora Alexandra Ogilvy
FO:Was there a pivotal moment when you decided to be an artist?
PC: no its just always been an affliction that i've suffered from my whole life
FO: Can you tell us about the process of making your artwork?
PC: i troll the internet for scraps to use, and then i use some of those scraps, change some scraps around, break up some of the scraps, put some scraps back together, add my own scraps and scratches, do this all of this very quickly -- and then post it. sometimes i print it out later, sometimes i don't.
FO: What is your favourite art gallery in Los Angeles and why?
PC: and/or gallery just re-opened in pasadena after years of hiatus. originally it was in dallas, tx. i've always had a huge respect for paul slocum and the community of artists that he has supported, we have all been a tight knit group of nerds for years now. i am thrilled to be working with brian butler of 1301PE now, brian and the gallery are both so cool and for lack of a smarter word so chill and we just get on so well. 1301PE is also in an area that feels so 'LA art' to me and i just love the way that gallery is set up, i always love an upstairs/downstairs situation like that. also maybe because its by LACMA but i just have always deeply loved that area. it just seems so so so classic LA. palm tree emoji.
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Ana Prvacki, "Various keys," 2014, gel pen on gampi paper, 10.5 x 7.25 inches
Ana Prvacki: "A Song for Rio" at Galeria Fortes Vilaça, Rio de Janeiro
Uma Canção para o Rio / A Song for Rio
Galeria Fortes Vilaça
Rio de Janeiro
PART I November 22, 2016 – January 19, 2017
PART II February 4 – March 18, 2017
What lives in the zone between the world of objects and the realm of music? A Song for Rio brings together a group of Brazilian and international artists who each in their own way attempt to answer this question by undertaking a poetic investigation of the intersection of art and music. A collaboration between Galeria Fortes Vilaça and Douglas Fogle & Hanneke Skerath.
Artists (part 1): Allora & Calzadilla, Ana Prvački, Anne Collier, Bárbara Wagner & Benjamin de Búrca, Bruce Conner, Cabelo, Cerith Wyn Evans, Chelpa Ferro, Christian Marclay, Dave Muller, Ernesto Neto, Jac Leirner, Kelley Walker, Los Carpinteros, Mark Leckey, Nuno Ramos, Paulo Garcez, Rivane Neuenschwander, Susan Philipsz, Vivian Caccuri
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Fiona Banner: "Au Cœur des Ténèbres" at mfc-michele didier gallery, Paris
FIONA BANNER: Au Cœur des Ténèbres
November 18, 2016 - January 7, 2017
mfc-michèle didier
66rue Notre-Dame de Nazareth
F-75003 Paris
On this occasion, Fiona Banner - who continuously investigates the slippage between object, image and text through the prism of graphic and editorial works - has hinged the exhibition on her adaptation of Joseph Conrad's novella Heart of Darkness.
Jorge Mendez Blake, Todos los nocturnos de Villaurrutia I (Nocturno, Nocturno miedo, Nocturno
grito, Nocturno de la estatua, Nocturno en que nada se oye, Nocturno sueño), 2016
Jorge Mendez Blake: "Nocturnos" at Travesia Cuatro, Madrid
Jorge Mendez Blake: Nocturnos
19 November 2016 - 10 February 2017
Travesia Cuatro
San Mateo 16
28004 Madrid
On this occasion, the artist has set his focus on the "nocturne", a musical genre cultivated primarily during Romanticism and Modernismo, the late-nineteenth and early-twentieth century Spanish-American literary movement led by poets and writers such as Rubén Darío, Leopoldo Lugones, Federico García Lorca and José Asunción Silva, among others. The Nocturne, was popularized in Mexico by the group Los Contemporáneos, whose members included Salvador Novo, Antonieta Rivas Mercado, José Gorostiza and Xavier Villaurrutia. Who used it as the backbone of his book Nostalgia de la muerte, that would become a benchmark in twentieth-century Mexican poetry.
Fiona Connor, All the doors in the walls, 2016, installation view, Minerva
Artforum critics' picks: “Fiona Connor, Sydney de Jong, Audrey Wollen” at Minerva, Sydney
Fiona Connor, Sydney de Jong, Audrey Wollen at Minerva by Claudia Arozqueta
Minerva
4/111 Macleay Street, Potts Point
October 29–December 10
Three artists whose work seems both conceptually and materially dissimilar and five press releases with different interpretations can be found here, though the title of Fiona Connor's All the Doors in the Walls, 2016, is to be taken literally. Each door in the gallery was stripped of its function; they no longer serve as mediators or passages from one place to another but as static objects of art, disposed toward admiration for their simplicity.
Fiona Connor, Brick, Cane and Paint, 2016, installation view: Hopkinson Mossman, Auckland
Fiona Connor: "Brick, Cane and Paint" at Hopkinson Mossman, Auckland, New Zealand
Fiona Connor
Brick, Cane and Paint
12 November - 22 December 2016
For Brick, Cane and Paint, Connor presents work from three new notice board projects (quoted from three sites: a brick plant and a cane factory in Los Angeles, and a weavers guild in Auckland) alongside a new series titled Insert (Chopping Board).
Where previously Connor's work has focused on bulletin boards from public spaces (such as city parks, libraries, community centres etc.), the sculptures in Brick, Cane and Paint represent activity at specific sites of production, with content generated by a fixed group of individuals. Notice Board (Pacific Clay), the set of six boards in the small and large galleries at Hopkinson Mossman, are quoted from Pacific Clay; a brick plant frequented by the artist. The Pacific Clay boards are punctuated by a single piece from the Handweavers and Spinners Guild in Mt Eden (a community organization close to the artist's childhood home), and the boards that hang in the gallery's office spaces are from Cane and Basket Supply, a workshop near the artist's Los Angeles studio.
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SUPERFLEX: 11th Shanghai Biennale
SUPERFLEX presents Pigs, Time and Space for the 11th Shanghai Biennale 'Why Not Ask Again?'
11th Shanghai Biennale
11 November 2016 - 12 March 2017
Pigs, Time and Space is a new film installation that addresses the exchange of pigs between Denmark and China. With a pig as the main protagonist Pigs, Time and Space is set in a dream-like universe unfolding the highlights of a historical loop from I Ching, the ancient Book on Divination, to the Schjellerup crater on the moon.
Jack Goldstein: "Art Center Talks" Book Launch at 365 Mission, Los Angeles
Art Center Talks: Graduate Seminar, The First Decade 1986-1995
Book launch & panel discussion on Sunday, December 11th at 365 Mission
3-5pm Panel Discussion / 5-6pm Public Reception
ArtCenter College of Design's Graduate Art MFA program announces the publication of the first of three volumes of ArtCenter Talks, a collection of transcripts of lectures given by artists, theorists and historians throughout the program's thirty-year history. For this inaugural volume, Stan Douglas, who joined the Graduate Art faculty in 2009, chose 13 lectures from among hundreds that he deemed best represented the scope and range of the first decade of the program and its guests.
To celebrate the book's publication, on December 11, Douglas will moderate a roundtable discussion at 356 Mission Rd. in Los Angeles that will include former faculty, alumni and visiting artists (Meg Cranston, Stephen Prina, Diana Thater, T.J. Wilcox) who participated in the "Graduate Seminar" during the decade covered by this first volume.
Contributions by: Beth B, Rosetta Brooks, Luis Castro Leiva, Meg Cranston, Charles Gaines, Jack Goldstein, Felix Gonzales-Torres, Susan Hiller, Roni Horn, Kellie Jones, Mike Kelley, Justen Ladda, Thomas Lawson, Sylvere Lotringer, John Miller, Constance Penley, Brian Routh, Mira Schor, Allan Sekula, Robert Storr, Lynne Tillman
Jorge Méndez Blake. The Art of Loving, 2009. 10 ladrillos, edición de The Art of Loving de
Erich Fromm / 10 bricks, edition of Erich Fromm’s The Art of Loving, 24 x 8 x 4 cm.
Courtesy of the artist.
ART 21 Magazine: The Variations of its Shadows - An Interview with Jorge Méndez Blake
The Variations of its Shadows: An Interview with Jorge Méndez Blake by Caroline Picard
Every book creates a world, a place that readers enter through language on the first page, and inhabit thereafter, as the text's unique character compounds in an individual's imagination. This happens with novels, with philosophy, mathematical treatises, and poems. How astonishing it is to consider the lush autonomous universe each spine on a bookshelf proposes. Each of those worlds has a logical structure that cajoles a reader into its unique proposition—a situation not so different, perhaps, from that of architecture. The Guadalajara-based multimedia artist, Jorge Méndez Blake, addresses this intersection directly by translating nuanced themes embedded in canonical books into art installations. In our interview, we discuss this process of translation, looking at how it differs from literary criticism, and drifting over the site of Emily Dickinson's desk.
Caroline Picard: Your installations interpret the work of different authors like Samuel Beckett, Jorge Luis Borges, Emily Dickinson, Franz Kafka, Edgar Allan Poe, Shakespeare, and Jules Verne, by drawing out nuanced themes within a book (or poem) into a single place and time; it is almost like you draw a three-dimensional translation of the book in space. Do you see a connection between what you do and literary criticism?
Jorge Méndez Blake: My approach to books and language is more as a reader than as a critic. I like reading literary criticism, but I'm working from the side of art, and art should propose different ways of understanding literature, not the same ones as critics. Approaching a book through sculpture expands the possibilities of regular literary criticism. I believe some seminal texts of the history of literature have many possibilities of interpretation: there's nothing new under the sun, but the variations of its shadows are infinite.
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A still of the Los Angeles River from Kerry Tribe's "Exquisite Corpse" 2016.
Faena Art: Interview Kerry Tribe
Kerry Tribe: Exquisite Corpse
Biennale de l'Image en Mouvement
Centre d'Art Contemporain Genève
November 9, 2016–January 29, 2017
Opening week: November 9–13, with a program of performances, special screenings, conversations and round tables
Vernissage: November 9, 6–9pm
1301PE is pleased to announce Kerry Tribe's participation in the celebrated Biennale de l'Image en Mouvement (Biennale of Moving Images) at the Centre d'Art Contemporain Genève, Switzerland. Tribe's contribution, Exquisite Corpse, was commissioned for the 2016 CURRENT:LA Biennial and will be presented for the first time as a three-channel installation.
Diana Thater, "Colorvision," 2016. Installtion view, 1301PE. Image by Fredrik Nilsen.
FLAUNT: Colorvision - Artist Diana Thater’s Solo Exhibition at 1301PE
L.A.-based artist Diana Thater's mind-bending artwork is so effective in part because of an often overlooked aspect of her artistic process–installation. Thater deeply considers setting in her work, and utilizes space in a way that that emphasizes the architecture and the surfaces upon which she shows her pieces so that the room itself becomes a part of the art. Fortunate, then, that the 1301PE Gallery at 6150 Wilshire Blvd., within spitting distance of the LACMA (where Thater was recently honored with a comprehensive mid-career survey), offers beautiful territory for her explore in her ninth exhibition with the gallery, titled Colorvision, and currently on view until November 5th.
Thater's highly innovative work has been transformative in the world of projection art and video installation. Since the early '90s she has continued to expand the medium in which she works, incorporating a formal and technical element into her artmaking process. This embrace of technology may seem at first thematically incongruent with the subjects of her artwork, which often explore the conflicts between human culture and civilization and nature, but Thater insists that "visible technology, beauty and pleasure (which are one and the same) are not antithetical to one another but may exist simultaneously in the work of art and may produce the sublime."
As 1301PE Gallery describes the series, "Colorvision consists of 8 individual monitor pieces. Each vertically-hung monitor displays the name of a color along with a bouquet of flowers in a different, complimentary, color. The colors used are those of the video spectrum: red, green, blue (primaries); cyan, magenta, yellow (secondaries); purple and orange (tertiary). The word "RED", for example, appears with cyan flowers, while the word "CYAN" appears with red flowers. The series is based on a neurological test that is given to people to decipher the relationship between sensation and language." Thater is interested in this conflict in how we discern visual and textual information, and she suggests that it illuminates something fundamental in how we perceive art: "It's especially difficult for a viewer to think about color and language simultaneously and the dichotomy, when shown one color but asked to read the name of it's opposite, forces a rupture between the two. The question is: Does reason or sensation dominate our experience of art?"
It's been a busy year for Thater and there's no sign she's slowing down, with a solo show opening last week at the MCA in Chicago and more showings in the pipeline for this year. Catch Colorvision while you can though–it closes this week and it should not be missed.
- Sid Feddema
A young visitor to Philippe Parreno's Turbine Hall installation. Photograph: Guy Bell/Rex/Shutterstock
The Guardian: Philippe Parreno's Turbine Hall review
Philippe Parrenos's Turbine Hall review- mesmerizing and unmissable by Adrian Searle
Hyundai Commission 2016: Philippe Parreno is at Tate Modern from 4 October 2016 to 2 April 2017
The length and height of Tate Modern's Turbine Hall is alive with ripples and rivers of pulsing light. High above, the box-like viewing balconies on the side walls throb and wink as light travels from one end of the building to the other, reflected and multiplying on glass walls and casting aberrant forms on the concrete. Here comes a plane, droning invisibly through the hall's indoor sky. And then it is gone.
Anywhen is astonishing, mesmerising, magnificent and unmissable. It is filled with constant surprise. But superlatives aren't sufficient. Over this weekend, I spent five or six hours here during technical rehearsals and run-throughs, and still can't say that I have seen and heard everything.
Anywhen is one of the very best Turbine Hall commissions, filling the space with sounds and furies, grand and small events, stillness and movement, noises and light and silence. Parreno likens it to a public park, where different events and a constantly changing tempo orchestrates the day. He also likens the commission to a kind of instrument that he is only now beginning to learn to play.
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Diana Thater, Delphine, 1999. Installation view, Los Angeles County Museum of Art, 2015–16.
© Diana Thater Photo: © Fredrik Nilsen
Diana Thater "The Sympathetic Imagination" at MCA Chicago
Diana Thater: The Sympathetic Imagination
Museum of Contemporary Art, Chicago
29 October 2016 - 8 January 2017
1301PE is pleased to announce the opening of Diana Thater: The Sympathetic Imagination at the Museum of Contemporary Art, Chicago. The exhibition originated at the Los Angeles County Museum of Art.
Among the most important artists to emerge during the 1990s, Los Angeles–based Diana Thater creates groundbreaking and influential works of art in film, video, and installation that challenge the normative ways in which moving images are experienced. Her dynamic, immersive installations address key issues that span the realms of film, museum exhibitions, the natural sciences, and contemporary culture through the deployment of movement, scale, and architecture.
Philippe Parreno & Rirkrit Tiravanija: Dreamlands at the Whitney
Whitney Museum of American Art
Dreamlands: Immersive Cinema and Art, 1905–2016
October 28, 2016 - February 5, 2017
Dreamlands: Immersive Cinema and Art, 1905–2016 focuses on the ways in which artists have dismantled and reassembled the conventions of cinema—screen, projection, darkness—to create new experiences of the moving image. The exhibition will fill the Museum's 18,000-square-foot fifth-floor galleries, and will include a film series in the third-floor theater.
Dreamlands spans more than a century of works by American artists and filmmakers, and also includes a small number of works of German cinema and art from the 1920s with a strong relationship to, and influence on, American art and film. Featured are works in installation, drawing, 3-D environments, sculpture, performance, painting, and online space, by Trisha Baga, Ivana Bašić, Frances Bodomo, Dora Budor, Ian Cheng, Bruce Conner, Ben Coonley, Joseph Cornell, Andrea Crespo, François Curlet, Alex Da Corte, Oskar Fischinger, Liam Gillick, Dominique Gonzalez-Foerster, Pierre Huyghe, Alex Israel, Mehdi Belhaj Kacem and Pierre Joseph, Aidan Koch, Lynn Hershman Leeson, Anthony McCall, Josiah McElheny, Syd Mead, Lorna Mills, Jayson Musson, Melik Ohanian, Philippe Parreno, Jenny Perlin, Mathias Poledna, Edwin S. Porter, Oskar Schlemmer, Hito Steyerl, Rirkrit Tiravanija, Stan VanDerBeek, Artie Vierkant, and Jud Yalkut, among others.
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