designboom: SO-IL + ana prvački create air-filtering outfits for chicago architecture biennial performance

Ricardo Alessio September 14, 2017

SO-IL + ana prvački create air-filtering outfits for chicago architecture biennial performance by Philip Stevens

during the opening week of the 2017 chicago architecture biennial, architecture studio SO-IL and artist ana prvački are debuting a musical performance piece titled 'l'air pour l'air'. as part of the project, which aims to ensure the continued legacy of musicians as the world's cities grow more polluted, the collaborative design team has created an ensemble of mesh enclosures. each piece has been conceived as part mask, part shelter, and is designed to clean and filter the air through breathing.

presented as one of the chicago architecture biennial's special projects, the four SO-IL-designed enclosures — named 'flute' 'saxophone' 'voice' and 'trombone' — will be worn by the respective members of the chicago sinfonietta. through performing an original composition, created by veronika krausas, the musicians will 'clean the air that produces the music'. 'the installation and performance encourage its viewers to meditate upon the complex notions such as the relationship between purity and pollution, and the distinctions between self, body, objects, and nature,' explains the design team.

the main exhibition is free and open to the public from september 16, 2017 through january 7, 2018.

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Ann Veronica Janssens, MUHKA Anvers, 1997

Ann Veronica Janssens, Philippe Parreno, and SUPERFLEX: Ujazdowski Castle Centre for Contemporary Art, Warsaw, Poland

Ricardo Alessio September 14, 2017

Dizziness: Navigating the Unknown

15/09/17 - 07/01/2018

Ujazdowski Castle Centre for Contemporary Art

Jazdów 2, 00-467 Warsaw

This exhibition can get your head spinning. Artists leave the established to seek other states of consciousness. They lure the audience into a confrontation with their own convictions.

The group exhibition Dizziness. Navigating the Unknown is the result of the artistic-research project Dizziness – A Resource, which is being implemented since 2014 by Ruth Anderwald and Leonhard Grond at the Academy of Fine Arts in Vienna, in collaboration with the Institute of Psychology at the University of Graz. In the project, the various states of instability become the starting point for exploring the frontiers of philosophy, cultural studies, medicine, research into creativity and innovation.

The exhibition will feature the works of thirty-three artists from around the world, created in the second half of the 20th century and in the 21st century. These works instill in the viewers the sensation of disarray mentioned in the title of the exhibition. The premeditated artistic strategies force the audience to confront their own convictions, directions of thought as well as intentions. Artists elicit questioning of the established rules or the ongoing changes in the world. They go beyond what has previously been established, beyond the generally accepted framework of thinking.

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Ann Veronica Janssens: Naissances Latentes, Le SHED, France

Ricardo Alessio September 14, 2017

Naissances Latentes

16 September - 12 November 2017

Le SHED, centre d'art contemporain de Normandie

12 Rue de l'Abbaye

76960 Notre-Dame de Bondeville

France

Ann Veronica Janssens's work will be the object of a triple exhibition, Naissances Latentes, at Le SHED. Janssens's artistic practice could be defined as a study of the sensory experience of reality. Through various types of devices (installations, projections, immersive environments, sculptures), Janssens's works emphasize space through the diffusion of light, the radiance of color or reflective surfaces, revealing the instability of our perception of time and space.

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Diana Thater, A Runaway World (background), As Radical As Reality (foreground), 2017. The installation view at The Mistake Room, Los Angeles, 2017. Photo by: Fredrik Nilsen. — Diana Thater, A Runaway World (background), As Radical As Reality (foreground), 2017. The installation view at The Mistake Room, Los Angeles, 2017. Photo by: Fredrik Nilsen.

Diana Thater: Borusan Contemporary, Istanbul, Turkey

Ricardo Alessio September 14, 2017

Diana Thater

A Runaway World

September 16, 2017–February 18, 2018

Borusan Contemporary

Baltalimanı Hisar Cad.

Perili Köşk No:5 34470

Rumeli Hisarı/Sarıyer

Istanbul Turkey

Diana Thater: A Runaway World (September 16, 2017‒February 18, 2018) comprises five video-based installations: three newly commissioned and two earlier works to provide context for the artist's examination of environmental issues. As Radical As Reality(2017) and A Runaway World (2017) were commissioned by The Mistake Room for the spring 2017 exhibition, that was also titled A Runaway World. The new installations incorporate video of elephants hunted by poachers for ivory; the last male Northern white rhinoceros, a species hunted to extinction for its horns; and the landscapes they inhabit. Thater and her crew gained unprecedented access to the creatures living in enclosures protected by armed guards. The videos are projected onto specially made X-shaped screens designed by the artist to create an immersive and somewhat disorienting experience.

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Ana Prvacki, Stealing Shadows, Duchamp, 2007, Medium variable, Dimensions variable

Ana Prvacki: Stealing Shadows (Duchamp) at MOCA Grand Avenue, Los Angeles, CA

Ricardo Alessio August 23, 2017

MOCA Grand Avenue

Laughing on the Outside: Selections from the Permanent Collection

16 August - 31 December 2017

MOCA Grand Avenue

250 South Grand Avenue

Los Angeles, CA 90012

Laughing on the Outside: Selections from the Permanent Collection presents artworks from MOCA's collection that register the ludicrous, the impossible, and the playful. On view are stairs that lead to nowhere, invitations to exhibitions that contain no objects, and boots that appear to walk by themselves. The centerpiece is Gabriel Orozco's interactive sculpture Ping Pond Table (Mesa de ping-pong con estanque) (1998). Museumgoers are invited to play with the paddles and balls provided, though it is likely they will need to invent new rules for a new game. While the artists belong to different periods and nations, they all orient art toward play, often via absurdity and ridiculousness, and in ways that deflate the grandiosity that sometimes accompanies the word "art."

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Jessica Stockholder: 360 Speaker Series, Nasher Sculpture Center, Dallas, TX

Ricardo Alessio August 23, 2017

Nasher Sculpture Center

360 Speaker Series: Jessica Stockholder

26 August 2017 2pm

Nasher Sculpture Center

2001 Flora Street

Dallas, Texas 75201

Jessica Stockholder's sprawling constructions have played a crucial role in expanding the dialogue between sculpture and painting and form and space. Within her work, the artist merges seemingly disparate, everyday objects to create holistic, colorful installations.

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SUPERFLEX,  Still from Flooded McDonald's, 2009 — SUPERFLEX, Still from Flooded McDonald's, 2009

SUPERFLEX: Flooded McDonald’s on view, Hammer Museum, Los Angeles, CA

Ricardo Alessio August 20, 2017

Hammer Contemporary Collections

SUPERFLEX, Flooded McDonald's

19 August - 15 October 2017

Hammer Museum

10899 Wilshire Blvd.

Los Angeles, CA 90024

The film Flooded McDonald's poses questions about consumer culture and the fast food industry.

Flooded McDonald's is the second film by the artist collective SUPERFLEX. In the video, a life-size replica of the interior of a McDonald's restaurant slowly floods with water until it is completely submerged and destroyed. Based in Denmark, Sweden, and Brazil, the members of SUPERFLEX consider their works "tools" for investigating systems of power, globalization, and the role of the artist in contemporary society. Flooded McDonald's poses questions about consumer culture and the fast food industry while reveling in the pleasure of destroying a global capitalist icon.

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Kirsten Everberg, Studio, Gaeta (after Twombly), 2015, Oil and enamel on wood panel, 24 x 24 inches

Kirsten Everberg: Garden Party Auctions, museum Dhondt-Dhaenens, Sint-Martens-Latem, Belgium

Ricardo Alessio August 20, 2017

museum Dhondt-Dhaenens

Museumlaan 14

9831 Sint-Martens-Latem, Belgium

Saturday, September 2nd, 2017

Annual Garden Party

On Saturday, September 2nd, 2017 the museum Dhondt-Dhaenens organises the eleventh edition of its annual Garden Party. The successful Paddle8 auction and the Christie's live charity auction are assured to be the highlights of this happening yet again.

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Installation view of Diana Thater’s The Starry Messenger, 2014, at the Moody Center for the Arts, 2017. 9-monitor video wall. Courtesy the artist and David Zwirner, New York/London. Photo Nash Baker

Glasstire: Diana Thater: ‘The Starry Messenger’ at the Moody Center

Ricardo Alessio August 9, 2017

I was lying on the ground one night at an artist residency in rural Pennsylvania. There were no clouds, no smog —I've never seen so many stars receding into infinity. The sky was so clear and the night so crisp that it was easy to make out a clear outline of the Milky Way. It wasn't how we normally see it in science textbooks or NASA posters; I was looking at the Milky Way turned on its side. It looked like a dense, fat, pixelated line — like a tail that, in one whisk, could fling us out into deep space — a place capable of immense obliteration and violence, a place of silence and timelessness. It felt immersive and very far away. It was majestic.

Diana Thater's The Starry Messenger (2014), currently on view at the Moody Center at Rice University, is not that.

Nor does she want it to be. Thater is instead using the act of stargazing as a seduction technique, to entangle us in a piece that interrogates our human need to separate ourselves from a fetishized "nature," one that cultivates frustration and desire, and that challenges us to be bored. She does this by layering our experience of her piece: the meta-mediated experience of Thater's recording of a projection of the Milky Way inside a planetarium; the mediated experience of her filming the projector inside the planetarium, and the immediacy of us viewing it all through a nine-monitor grid.

On view at the Moody Center for the Arts at Rice University in Houston until February 3, 2018.

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1301PE participating in Pacific Standard Time: LA/LA

Ricardo Alessio July 14, 2017

Jorge Méndez Blake at 1301PE

More than 65 art galleries in Los Angeles and throughout Southern California will participate in Pacific Standard Time: LA/LA, the Getty-led exploration of Latin American and Latino art that launches on September 15, 2017, and runs through January 2018. Complementing PST: LA/LA's expansive roster of exhibitions, performances, and public programs at more than 70 museums and cultural institutions, participating galleries will present more than 90 group and solo exhibitions, artist-curated projects, and installations in Downtown Los Angeles, Culver City, Santa Monica, Hollywood, West Hollywood, and beyond. Throughout the four-month initiative, a vibrant cross-section of emerging and established galleries will join in celebrating Latin American and Latino artists, and will bring works to the region by both internationally-known artists who will be shown on the West Coast or in the United States for the first time and emerging talent from across Latin America and the U.S.

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Artnews

LA Times

Philippe Parreno turns exhibition spaces into the exhibition, at the Rockbund Art Museum in Shanghai. Photography: © Andrea Rossetti 2017 — Philippe Parreno turns exhibition spaces into the exhibition, at the Rockbund Art Museum
in Shanghai. Photography: © Andrea Rossetti 2017

Wallpaper: Philippe Parreno transforms the Rockbund Art Museum in a perpetual motion of events

Ricardo Alessio July 14, 2017

Philippe Parreno transforms the Rockbund Art Museum in a perpetual motion of events by Charlotte Jansen

For the past two decades French-born artist Philippe Parreno has used museums as his material. Known best for his recent installations at Tate Modern, HangarBicocca and the Palais de Tokyo, he has turned exhibition spaces into the exhibition. Instead of installing art on the walls, Parreno begins with what already exists in the architecture of a building, choreographing light, sound, image and space in an ephemeral dance.

Parreno's first ever exhibition in China follows a similar strategy. 'Synchronicity', at the Rockbund Art Museum in Shanghai until mid September, sees window blinds opening and closing over a window like a blinking eye, casting different shadows over a room. A heliostat shunts natural sunlight through the glass rooftop over the floor below. On the third storey, an illuminated marquee constructed in glass — referencing the skylight design of the museum's upper floors — plays music that can be heard throughout the space. The artist even nods to the design of the building, completed in 1933 and restored by David Chipperfield in 2010: his vertical plane slices through four of the building's six floors, referencing the central axis and the overall harmony of the space.

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Rirkrit Tiravanija, Karl's Perfect Day, 2017, s16mm/arri digital, color, sound 5.1, 1h33mins. — Rirkrit Tiravanija, *Karl's Perfect Day*, 2017, s16mm/arri digital, color, sound 5.1, 1h33mins.

Rirkrit Tiravanija: Film premiers at the International Film Festival Marseille, France

Ricardo Alessio July 13, 2017

Rirkrit Tiravanija's film, Karl's Perfect Day (2017) will premier at the International Film Festival Marseille.

15 July – 3:45 pm

16 July – 5:30 pm

FID 28th International Film Festival Marseille

July 11-17

Karl perfect day is a portrait of artist and poet Karl Holmqvist thru the own idea of what a perfect day is to him. Is a journey from the time he wakes up to the time he returns to bed. The journey is constructed in Karl's mind, like his own work and artistic interests. Is a collage of peoples, places, sounds, images and texts. His idea of the perfect day is not one of extravagance but rather modest, layer with complexities and significance with moments of contentedness and small pleasures. Seemingly the film of Karl's perfect day perfectly looks like another day in a life of a person.

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Philippe Parreno: Rockbund Art Museum, Shanghai, China

Ricardo Alessio July 8, 2017

Philippe Parreno

Synchronicity

8 July - 17 September 2017

Rockbund Art Museum

20 Huqiu Road

Huangpu District, Shanghai

China

1301PE is pleased to announce the opening of Philippe Parreno's exhibition, Synchronicity, at the Rockbund Art Museum. It will be Parreno's first major solo exhibition in China. This exhibition is dedicated to the late Xavier Douroux whose influence on Parreno's career cannot be overstated.

Curated by the Director of the museum, Larys Frogier, Parreno's first exhibition in China will occupy four of the museum's six floors, also extending to its seventh floor glass rooftop.

Over the past twenty years, Parreno has radically redefined the exhibition going experience by exploring its possibilities as a medium in its own right. Realised in dialogue with the physicality and functionality of the museum's architecture, the exhibition will alter the building's current existence through an unexpected use of time, space, light, and sound to become a semi automated puppet, a perpetual motion of events in which Parreno subverts the conventions of the gallery space.

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View of Kerry Tribe's "the word the wall la palabra la pared," Parque Galería, Mexico City, 2017.

Art Agenda: Kerry Tribe’s “the word the wall la palabra la pared”, Parque Galería, Mexico City

Ricardo Alessio July 1, 2017

Kerry Tribe's "the word the wall la palabra la pared" by Catalina Lozano

PARQUE GALERíA, Mexico City

May 6–July 1, 2017

For her first exhibition in Mexico City, LA-based artist Kerry Tribe removed the front wall of Parque Galería and transformed it into a makeshift screening room. The crumbling architecture, with its exposed dry walls and frayed edges, introduces an exhibition in which seemingly solid physical and psychical structures are undone.

Tribe's work addresses perception, memory, and language, as well as the technologies used to perceive, record, and describe experience. Combining video, sculpture, and photography, her latest exhibition considers how atypical circumstances—such as alterations in the mechanisms of reception and emission in the brain—create opportunities to analyze the norms by which fitness and unfitness are defined. By paying attention to the anomalous, Tribe tackles new, affective configurations of knowledge.

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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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