Jorge Pardo poses in front of a new art piece, which he invites children to add to, at the Lux Art Institute in Encinitas.

Del Mar Times: Jorge Pardo leaves his mark at the Lux Art Institute

Ricardo Alessio July 1, 2017

Jorge Pardo leaves his mark at the Lux Art Institute by Brittany Woolsey

Lux Art Institute

4550 South El Camino Real

Encinitas, CA

On view through Aug. 5.

When Jorge Pardo was invited to spend time as an artist in residence at the Lux Art Institute in Encinitas, he had a set goal in mind: to create an original, new art piece in just five days.

The Mexico-based artist spent June 12 through June 17 staying at the Lux to work on the large canvas-based piece. Other artists have in the past chosen to spend up to a month there.

"I gave myself a week to make something that would be interesting, and that's really the only agenda here," he said in an interview on the day he he arrived at the studio. "The interesting thing is to use the space and to make something here. They're very flexible about how and what artists do. Residency can be a lot of things: it can be a retreat for people or it can be work."

During his time at Lux, he created a 5-foot-by-30-foot scroll work that is covered with silkscreen ink in bright colors such as pinks, purples and oranges. He had planned the work for months, with materials sent over ahead of time, to make the most out of his stay at the Lux, he said.

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Fiona Banner: De Pont Museum documentary by Maarten de Kroon

Ricardo Alessio June 17, 2017

Fiona Banner: Runway (AW 17)

De Pont Museum, Tilburg, Netherlands

Through 27 August 2017

Documentary by Maarten de Kroon

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Untitled, 2013. Set of three acrylic lamps, dimensions variable — *Untitled,* 2013. Set of three acrylic lamps, dimensions variable

Jorge Pardo: Lux Art Institute, Encinitas, CA

Ricardo Alessio June 17, 2017

Jorge Pardo

On exhibit

June 12, 2017 through August 5, 2017

Lux Art Institute

1550 S. El Camino Real

Encinitas, CA 92024

Havana-born artist Jorge Pardo has been recognized as a MacArthur "genius" and featured in the collections of some of the world's top museums, and he once spent six years designing a utopian compound in the depths of the jungles of the Yucatán. This summer, San Diegans can witness him at work during a five-day residence at Lux Art Institute (June 12-17), followed by an exhibition of his vibrant, genre-defying artworks. June 12 to Aug. 5. Lux Art Institute, 1550 S. El Camino Real, Encinitas. $5; free for members. (760) 436-6611 or luxartinstitute.org

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Kerry Tribe, Rinse and Repeat, 2017. 10 minutes, single channel video with sound, vid-eo (still), courtesy of the artist.

Kerry Tribe: Chalk Circles at REDCAT, Los Angeles, CA

Ricardo Alessio June 17, 2017

Kerry Tribe

Chalk Circles

Saturday, June 17, 2017 to Sunday, August 20, 2017

Opening Reception June 17, 4-9pm

REDCAT

631 West 2nd Street

Los Angeles, CA 90012

The Gallery at REDCAT presents Chalk Circles, an exhibition and series of related performances and events that consider the ways in which performing and visual arts intersect. Curated by Ruth Estévez and José Luis Blondet, the exhibition Chalk Circles stages a number of ways in which artists think critically about live actions, theater and performance.

Artists in this exhibition document, reimagine, and rearticulate acting methodologies to investigate performance as a form of production, not just as an event-based form. Their projects center on mixed traditions of movement, acting and gesture, as well as pedagogic models. The role of the actor, the figure of the performer, and their different perspectives in the construction of a character inform several projects in the exhibition, while others focus on the frictions of a body in a fictive—theatralized—space.

Chalk Circles features works and commissions by local and international artists who engage in theatricality and performativity as a tool to feed the instability of such terms. Artists included in the exhibition: Carola Dertnig, Dora García and Peio Aguirre, Adrià Julià, Joachim Koester, David Levine, Emily Mast, Silke Otto-Knapp, Santiago Roldós and Pilar Aranda (Muégano Teatro), Catherine Sullivan and Kerry Tribe.

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Pae White: Artists on Art, LACMA video series

Ricardo Alessio June 17, 2017

Pae White

LACMA's Artists on Art video series

For Artists on Art, Pae White speaks on Soup Tureen and Ladle by Christopher Dresser.

LACMA's Artists on Art videos offer insights into works in the museum's encyclopedic collection that have inspired and informed artists working today. Looking at art through their eyes, we hear directly from artists about works that intrigue them and have fed their own creativity.

Pae White's practice straddles the line between what is thought of as "high art" and "functional object." I; in fact, her creations often—and purposefully—are both, finding their place simultaneously in the worlds of art, craft, and design. Her work ranges from intimate installations incorporating Vera scarves to large-scale tapestries, based on photos of crumpled aluminum foil or plumes of smoke and made on computer-driven looms. She lives and works in Los Angeles.

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Artnet news: Is Capitalism Doomed? A New Museum Imagines the Downfall of the Economic System

Ricardo Alessio June 14, 2017

Is Capitalism Doomed? A New Museum Imagines the Downfall of the Economic System by Brian Boucher

If capitalism is slowly on the outs, as some economists and theorists say it is, should there be a museum to preserve its artifacts? The Museum of Capitalism (MOC), an aspiring institution at the very earliest phase of development, opens its first exhibition this month in a disused warehouse in Oakland, California. Its ambitious goal is to educate future generations about the economic system's "ideology, history, and legacy," per its mission statement, in the vein of history museums and so-called museums of conscience.

Headed up by the artist duo FICTILIS (Andrea Steves and Timothy Furstnau) and supported by a $215,000 grant from the Emily Hall Tremaine Foundation, its debut exhibition is to be housed in a temporary space in Oakland's post-industrial Jack London Square, an area with multiple vacant warehouses. The artist list, totaling a whopping 83, includes members from around the globe.

Museum of Capitalism

55 Harrison St, Suite 201

Oakland CA 94607

Opening Exhibition

17 June – 20 August 2017

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Tacita Dean, The last beautiful pleasure., 2017. Installation view 1301PE.

LA Weekly: 5 Art Shows to See in L.A. This Week

Ricardo Alessio June 14, 2017

5 Art Shows to See in L.A. This Week by Catherine Wagley

Smoking in the grass

Downstairs at 1301PE, actress Sylvia Kristel holds a cigarette in a 16mm film that's being projected on a wall. Smoke rises against the lush yard in which she's standing. Artist Manon de Boer filmed Kristel, who died in 2012, in the Hollywood Hills in the early 2000s. The footage is quiet and the actress stoic. Upstairs, another 16-millimeter film plays. This time, it's iconic painter David Hockney who holds a cigarette and quietly smokes in his studio. Sometimes he laughs. Tacita Dean filmed him just last year and, over the course of 16 minutes, we see him smoke five cigarettes. This show, called "The last beautiful pleasure," marks 1301PE's 25th anniversary and drips with nostalgia — for a time when too many of us still found chainsmoking romantic.

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Diana Thater, As Radical as Reality, 2017, Plexiglas, steel, two-channel video projection (color, silent, indefinite duration). Installation view. Photo: Fredrik Nilsen. — **Diana Thater, *As Radical as Reality*, 2017,** Plexiglas, steel, two-channel video projection (color, silent, indefinite duration). Installation view. Photo: Fredrik Nilsen.

Artforum: Diana Thater at The Mistake Room

Ricardo Alessio June 4, 2017

Diana Thater at The Mistake Room by Alexander Keefe

"I'm always working with multiple, simultaneous perspectives," Los Angeles–based artist Diana Thater explained to Lynne Cooke in an interview published on the occasion of her 2015 retrospective at the Los Angeles County Museum of Art. This statement makes sense, given the complexity of Thater's subject matter: the networked entanglements between human and other, species and habitat, viewer and viewing space, zebra and zeal (the last a term of venery for a group of zebras). "A Runaway World" adds to the artist's bestiary of transitory media architectures. The show presents two cruciform structures. Each is composed of four Plexiglas sheets arranged via metal scaffolding to form the prone Xs; their four sets of moving images alternately bleed into and jarringly abut each other, creating bifurcated viewing environments that choreograph the body into position, then divide and mend the gaze. Viewed from afar, the screens appear as moving images in the round; up close, these immersive viewing stations facilitate what Thater describes as an "in-between space and time that we (humans and animals) can occupy together, whose mode is instinct and whose affect is beyond simple emotion."

Thater has been working with architectural screening environments since 1995's six-channel video projection China, a Deleuzian body trip into the multiple subjectivity of the pack wolf that muses on what it might be like to feel like many instead of one. Travel and zoological research have formed key parts of her practice ever since; both works in the current exhibition emerged from trips to Kenya in 2016 and 2017. The piece that gives the exhibition its title draws from footage of a herd of African elephants that the artist filmed in the country's Chyulu Hills. Images of elephants dominate the screens, singly and in groups, viewed from up close and far away. These intersect with scenes of the threatened landscape that the magnificent creatures inhabit: rolling grasslands and distant mountains, gorgeous trees isolated in motion against azure skies. Thater has said of her work that it "must have a presence like a subject." An installation like this one conjures and sustains a particular interplay of subjectivities, here entangling viewer, elephant, and land in what feels like a daydream. But it's also something of a nightmare.

Few animals are as emblematic of species loss as the northern white rhinoceros named Sudan, the subject of the adjacent work As Radical as Reality, 2017, a moving meditation on extinction in the Anthropocene. Per the show's press release, the last surviving male of his species has shown little interest in mating with the last two remaining females that accompany him in the Kenyan conservancy that shelters them (an assertion that is challenged by the conservancy, which provides the sobering counter that Sudan's two female companions are themselves incapable of normal copulation). Soon his advancing age will preclude reproduction regardless. To make matters worse, poachers would love to have his horn. Species loss and individual death are inseparable in this pathetic story; so are human and rhinoceros. Thater's installation creates a space to encounter Sudan as he lives, a rhino in a post-rhino world, ringed by the armed guards who will accompany him everywhere until someday—too soon—security team becomes funeral escort. And we stand and mourn.

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Rirkrit Tiravanija, Nikolaus Hirsch, Michel Müller, DO WE DREAM UNDER THE SAME SKY, 2017.

e-flux: ARoS Triennial, Rirkrit Tiravanija, Nikolaus Hirsch, Michel Müller

Ricardo Alessio June 4, 2017

Rirkrit Tiravanija, Nikolaus Hirsch, Michel Müller

DO WE DREAM UNDER THE SAME SKY

June 3–July 30, 2017

ARoS Triennial

Various locations

Aarhus, Denmark

DO WE DREAM UNDER THE SAME SKY is located at the beach near Mindepark, Aarhus

For The Garden, the first ARoS Triennial in Aarhus, artist Rirkrit Tiravanija and architects Nikolaus Hirsch and Michel Müller have developed a new version of their ongoing project DO WE DREAM UNDER THE SAME SKY comprised of a pavilion and a dense program of films, talks and cooking.

In the logic of an exquisite corpse, the pavilion can be seen as a disembodied part of the future artist residency and workshop at The Land, a self-sustaining artistic community initiated by Rirkrit Tiravanija and Kamin Lertchaiprasert near Chiang Mai in Thailand that engages with the idea of an artistic utopia and presents both an ecological and sustainable model for future artistic practice. Reminiscent of a Surrealist "exquisite corpse"—beginning with a single contribution that continues to grow piecemeal—various architects, engineers, and artists will contribute different building components (such as structure, façade, etc.) to this unusual architectural assemblage as a collective work.

After its first manifestation at Art Basel in 2015, the pavilion in Aarhus presents the first version of the building in its future dimensions of 22x22 meters. The structure houses several kitchen and garden elements within which the various themes of the project will be played out. Investigating models and practices of sustainability, the geopolitics of food, and building technologies in the era of the anthropocene, Tiravanija, Hirsch and Müller have put together a public program that runs daily from June 3 to July 30.

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Paul Winstanley, Lost (After Saenredam), 2016, oil on gesso on panel, 72 x 66 cm / 28.3 x 26 in — Paul Winstanley, *Lost (After Saenredam)*, 2016, oil on gesso on panel, 72 x 66 cm / 28.3 x 26 in

The Irish Times: Paul Winstanley, Minimalism in the Dutch Golden Age at the Kerlin

Ricardo Alessio June 1, 2017

Minimalism in the Dutch Golden Age at the Kerlin by Aidan Dunne

Paul Winstanley: Faith After Saenredam and Other Paintings
Kerlin Gallery, South Anne St, Dublin

The key work in his new show at the Kerlin is his recreation, or re-imagination, of a lost painting of Mariakerk by Saenredam. Winstanley set about approximating it by referring to a surviving, precise preparatory sketch. Then he moved on to make another painting of Mariakerk, but from a slightly altered viewpoint, so that we can see a window and a golden tapestry, both of which, he points out, were documented as being there. But in composing his painting, Saenredam made sure neither would be seen, though he did include comparable elements in other paintings. The bottom line is that Winstanley's re-imagination of the Saenredam is of course a Winstanley. And perhaps our version of anything is uniquely our own.

Other paintings include people looking at paintings in the National Gallery, London. A man and a woman stand before a Vermeer. A larger group moves around in front of a religious icon painting. The moving figures are blurred as though by a long photographic exposure. The figures are ephemeral, the artworks fixed and bathed in light. There's also a painting of a recurrent subject: a birch tree, which of course changes all the time even in its constancy. Seeing is believing, but the implication of these beautifully poised works is that our faith may be misplaced.

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Diana Thater, The Best Animals Are the Flat Animals, 1998 — Diana Thater, *The Best Animals Are the Flat Animals*, 1998

Independent Collectors: Interview with Clayton Press & Gregory Linn

Ricardo Alessio June 1, 2017

Clayton Press and Gregory Linn are well known as early identifiers of emerging talents, many of which have developed into artists who are well recognized in the contemporary canon – from Richard Prince to Diana Thater, from Jutta Koether to Borna Sammak.

Our approach is to develop portraits of artists' careers, collecting several works – 5, 10, 15 – over time. For us, we are most interested in making a commitment to artists who are doing something fresh and evolutionary. We own paintings, time-based media, photography, sculpture, installation, and even several URLs (domain name and web application). Here is an example by Damon Zucconi, www.dictionary.blue.. By supporting these artists longer term, we feel – rightly or not – that we are encouraging them to push forward and through.

We took this approach first with the Pictures Generation, and then we did this with artists like Angela Bulloch, Stan Douglas, Zoe Leonard, Jason Rhoades, Kay Rosen, Diana Thater, Franz West, TJ Wilcox, and Christopher Williams in the 1990s. Next came, Matthew Brannon, Wade Guyton, Jutta Koether, Seth Price, and Kelley Walker in the 2000s. Now we are making similar, deep commitments to artists like Adam Henry, Jacob Kassay, Win McCarthy (whose work we first saw at Art Cologne in 2014), Borna Sammak, Kyle Thurman, and Damon Zucconi.

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From left, Fenger, Christiansen and Nielsen of the Danish art collective Superflex. Nikolaj Møller/Blink Production — From left, Fenger, Christiansen and Nielsen of the Danish art collective Superflex.
Nikolaj Møller/Blink Production

Newsweek: Superflex Uses Humor to Challenge Corporate Power

Ricardo Alessio June 1, 2017

Joke's on You: Superflex Uses Humor to Challenge Corporate Power by Francesca Gavin

Sitting around the white Ikea-like desk in their studio, on the ground floor of a low-key office building in the gentrified northern part of Copenhagen, the core members of the Danish art group Superflex seem far less confrontational than you might expect. From their bases in Copenhagen, Stockholm and London, Jakob Fenger, Bjørnstjerne Christiansen and Rasmus Nielsen have been working together for 25 years on politically charged projects that have taken them everywhere from Texas to Africa, via Bangkok, Japan and many of the world's most prestigious art galleries. This year sees their most high-profile commission to date, with the recent announcement that they are the latest artists invited to fill the vast Turbine Hall of London's Tate Modern. Yet, despite the glamorous-sounding projects and their globe-trotting lifestyle, the three men, all in their 40s, appear surprisingly grounded, dressed in casual clothes, with a beard here, some gray hair there and plenty of lines around the eyes.

Talking about their provocative work—which has included such pieces as an exact replica of the toilets used by the U.N. Security Council in New York, erected on a beach in the Netherlands in 2010, and a video installation, made in 2009, that attempted to hypnotize viewers so that they might perceive climate change from the perspective of a cockroach—they are serious, patient and have a clear sense of their approach. Intent on challenging globalization and power structures, they call their works "tools," suggesting a broader application beyond art.

Though their mission is pugnacious, playfulness is central to the Superflex worldview. "Humor is just one of the buttons you can press. It's very effective. It's also challenging. It's not just fun," says Nielsen. The collective's work questions economic systems and the commodification of art, but the artists also highlight the comedy innate in everyday life. They call 1970s Danish children's television a main source of inspiration, and their works are more likely to be experiences rather than objects. "We want to do things that have an impact," Christiansen says. "Understanding the systems and the game of the realities that we choose to participate in is crucial. Let's say it's important to smash things before you can move on."

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Tacita Dean, still from "Portraits," 2016, 16mm color film, optical sound, 16 min.

Visual Art Source: Manon de Boer, Tacita Dean at 1301PE, Los Angeles

Ricardo Alessio June 1, 2017

Manon de Boer, Tacita Dean at 1301PE, Los Angeles, by Jody Zellen

In "The Last Beautiful Pleasure" two films play in the darkened gallery space. Downstairs is a portrait of Sylvia Kristel by Manon de Boer; and upstairs, a portrait of David Hockney by Tacita Dean. What is striking in these filmed portraits is that both subjects are smoking and this activity — conscious and unconscious — is about so much more.

Their smoking functions as a metaphor for duration and pleasure. De Boer's short film "Sylvia, March 1 and March 2, 2001, Hollywood Hills" (2001-2005) portrays the French actress (best known for her role as Emmanuelle) outside, surrounded by nature yet tightly framed. As she gazes silently at the camera, smoke from her cigarette billows around her. Dean's "Portraits" (2016) depict David Hockney in his studio. He is shot both close up and from a distance as he inhales, exhales and casually flicks ashes onto to the floor without a care in the world. Although smoking is now looked down upon as a known health hazard, in film it is has long been accepted as a trope and an affect. In these films, Dean and de Boer investigate the visual power and pleasure of this activity.

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Pae White, Qwalala, installation view, Le Stanze del Vetro, Venice, 2017

Domus: Pae White, Qwalala

Ricardo Alessio May 31, 2017

Pae White: Qwalala

until 30 November 2018

Pae White, Qwalala

Le Stanze del Vetro

Isola di San Giorgio Maggiore, Venice

Qwalala, a monumental new sculpture by American artist Pae White, opened to the public on the Island of San Giorgio Maggiore in Venice, coinciding with the 57. International Art Exhibition – La Biennale di Venezia. Qwalala consists of a curving wall made only of solid glass-bricks. 75 metres long and 2,4 metres high, the thousands of glass bricks for Qwalala were hand-cast by Poesia Glass Studio in the Veneto region. Each of these hand-cast bricks is unique, owing much to chance and variation inherent in the artisanal manufacturing process.

Approximately half of the bricks are made of clear glass. The other half span a palette of 26 colours, and are made using a technique where each brick contains a storm-like effect of swirling colour, while remaining transparent. For this project, the individual bricks present the idea of modules of contained chaos. The artist combines these bricks to form an abstract, painterly pattern when viewed from afar, which, upon closer inspection, reveals unexpected worlds of detail. The muted blues, greens, pinks, greys and browns of the palette are drawn from colours used in first century Roman glassmaking created by the presence of sulphur, copper, manganese, and other metals and minerals.

The title of the piece, Qwalala, is a Native American Pomo word meaning "coming down water place." It references the meandering flow of the Gualala river in Northern California, which the work echoes in both its structure and layout. The wall's ever-shifting play of light, recalls the way in which the colour and temperature of the river water changes minute to minute as it meets the Pacific Ocean. Additionally, the name "Qwalala" itself, rolling off the tongue, also mimics the visceral experience of the body as it journeys around and through the curves of the wall.

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Contemporary Art Daily: Venice, Philippe Parreno at The Central Pavilion and The Arsenale

Ricardo Alessio May 31, 2017

Venice: Philippe Parreno at The Central Pavilion and The Arsenale

Philippe Parreno: All the World's Futures

The Central Pavilion and The Arsenale at the Venice Biennale

May 9 – November 22, 2015

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Judy Ledgerwood, Chromatic patterns, 2016-2017, site specific wall painting at Bloomberg — Judy Ledgerwood, *Chromatic patterns*, 2016-2017, site specific wall painting at Bloomberg

Judy Ledgerwood: Chromatic Patterns, Bloomberg mural, New York

Ricardo Alessio May 31, 2017

Judy Ledgerwood's Chromatic Patterns mural for Bloomberg is at the new 919 3rd Avenue building in New York. It's inspired by the idea of place-making, about making the work space "a personal space rather than a more generic public space," according to Ledgerwood.

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Kerry Tribe: Recipient of the 2017 Herb Albert Award in the Arts

Ricardo Alessio May 20, 2017

Kerry Tribe: Recipient of the 2017 Herb Albert Award in the Arts

The Herb Alpert Foundation announced the 2017 winners of its annual Award in the Arts, which are given out annually by the foundation and the California Institute of the Arts. Each award honors a mid-career artists and comes with an unrestricted $75,000 prize. This year's winners are: Luciana Achugar for dance, Kerry Tribe for film/video, Eve Beglarian for music, Daniel Fish for theatre, and Amy Franceschini for visual arts.

Kerry Tribe, for her fearlessness in rethinking and readdressing social issues, her ability to make surprising and moving connections, for her demanding, pleasurable, transformative, and accessible work. They value her empathetic, generous and rare ability to immerse her audiences in new ways of seeing the world.

Past winners have included Simone Leigh, Tania Bruguera, Emily Jacir, Roni Horn, and Kerry James Marshall.

"It's particularly meaningful at this divisive moment to honor and support this year's winners who are rigorous in their reach, alert to the world, and make community as much as they make art," Irene Borger, the director of the Herb Alpert Award in the Arts, said in a statement.

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ARTnews, Herb Alpert Awards Name 2017 Winners, by Robin Scher

Los Angeles Times, Why the current political moment makes the new Herb Alpert awards for experimental artists so relevant, by Carolina A. Miranda

Opening this week in Venice

Ricardo Alessio May 10, 2017

LA BIENNALE DI VENEZIA

13 May – 26 November 2017

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PHILIPPE PARRENO

VIVA ARTE VIVA

Central Pavilion

Giardini, Venice

JORGE PARDO

Applied Arts Pavilion

Arsenale, Venice

PAE WHITE

LE STANZE DEL VETRO

Island of San Giorgio Maggiore, Venice

12 May 2017 - 30 November 2019

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Qwalala, a monumental new sculpture by artist Pae White, will open to the public on the Island of San Giorgio Maggiore in Venice, coinciding with the 2017 Venice Art Biennale. Qwalala consists of a curving wall made only of solid glass bricks, which occupies the entire area opposite LE STANZE DEL VETRO. At 75 metres long and 2.4 metres high, the 3,000 glass bricks for Qwalala were hand-cast by Poesia Glass Studio in the Veneto region. Each of these hand-cast bricks is unique, owing much to the chance and variation inherent in the artisanal manufacturing process.

ANN VERONICA JANSSENS

Palazzo Fortuny

San Marco, Venice

13 May – 26 November 2017

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To coincide with the 2017 Venice Art Biennale, the Axel & May Vervoordt Foundation and the Fondazione Musei Civici di Venezia will present their sixth and final exhibition: Intuition. The exhibition will explore how different manifestations of intuition have shaped art across geographies, cultures and generations. It will bring together historic, modern and contemporary works related to the concepts of dreams, telepathy, paranormal fantasy, meditation, creative power, hypnosis and inspiration.

Anri Sala and Angela Bulloch at Esther Schipper’s New Space in Berlin

Brian Butler May 8, 2017

Angela Bulloch | ArtFuse | by Tina Sauerlaender

Angela Bulloch’s show Heavy Metal Body and Anri Sala’s first solo exhibition with the gallery Take Over also inaugurate the gallery’s new space at Potsdamer Strasse 81E in Berlin, Germany, and opened concurrently with Gallery Weekend Berlin 2017.

Three new sculptures by Angela Bulloch which expand the body of work that Angela Bulloch has been developing since 2014, will be presented in a space adjacent to the main exhibition area. Each of the sculptures offers a distinct rhythm created by the variations in shape, size and color of its elements. The surface of the vertically assembled rhomboid shapes, painted in a combination of light, bright or dark colors, creates an optical illusion of pushing and pulling planes. Conceived within a digital imaging program, each stacked rhombus appears distinct while at the same time relating to the others. From one side the irregular aspect dominates, while from another the impression of a certain totemic regularity prevails. By using contemporary technology to transpose Euclidian geometry into a three-dimensional sphere, the artist conjures up sculptures in a weightless space, allowing virtuality and reality to coexist. (Full Article)

Pae White installation at kaufmann repetto

Pae White: "Demimondaine" at kaufmann repetto

Ricardo Alessio May 7, 2017

Pae White: Demimondaine

kaufmann repetto

Via di Porta Tenaglia, 7, 20121 Milano MI, Italy

8 May - 9 September 2017

The exhibition title lends itself to the French "demi-monde" or "half-world", a popular phrase at the turn of the early twentieth century characterizing those living opulent, pleasure-driven lifestyles. The derivative "demimondaine" spoke of the women that lived on the fringe of respectable society, straddling the standards of the "real-world". Their way of life a challenge of the status quo but existing within the con nes of those very ideals - a controlled excess, a chaos within boundaries.

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