Installation view of SO-IL and Ana Prvački, l'air pour l'air, 2017. Courtesy of Chicago. Architecture Biennial, Steve Hall © Hall Merrick Photographers.

Artsy: 10 Architects Designing the Future at the Chicago Architecture Biennial

Ricardo Alessio September 21, 2017

10 Architects Designing the Future at the Chicago Architecture Biennial by Anna Kats

SO-IL and Ana Prvački

Prvački, a Los Angeles-based artist, and Florian Idenburg, an architect and co-founder of New York studio SO-IL, jointly conceived an interdisciplinary offsite project at the verdant Garfield Park Conservatory.

Dressed in mesh sculptural forms that obscure their faces and instruments, wind musicians and a vocalist from the Chicago Sinfonietta wander among the greenhouse's proliferation of plants; the encasings filter air as the wind instruments are played, creating a feedback mechanism whereby the music cleans the air that in turn produces the music.

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Rirkrit Tiravanija: Gavin Brown, New York

Ricardo Alessio September 21, 2017

Rirkrit Tiravanija

skip the bruising of the eskimos to the exquisite words

vs.

if I give you a penny you can give me a pair of scissors

24 September - 28 October 2017

Gavin Brown

439 W 127th Street, New York

291 Grand Street, New York

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"The History of Pedestrian Ways in Downtown Chicago", 1979, Courtesy of City of Chicago — "The History of Pedestrian Ways in Downtown Chicago", 1979,
Courtesy of City of Chicago

Fiona Connor: Chicago Architecture Biennial, IL

Ricardo Alessio September 14, 2017

Chicago Architecture Biennial

Fiona Connor and Erin Besler

16 September 2017 - 7 January 2018

Chicago Cultural Center

78 E. Washington Street

Chicago, IL 60602

Front Door, Part 1 & Part 2

Front Door takes its cue from the passageways and thresholds of two spaces: the Chicago Cultural Center and the Chicago Pedway.

This Beaux Arts building originally opened in 1897 to house the Chicago Public Library and the Grand Army of the Republic Memorial Hall; it was designed by the Boston-based firm Shepley, Rutan & Coolidge, who were working concurrently on the Art Institute of Chicago (1893–1916). Since a renovation by Holabird & Root from 1974 to 1977, the building has been used as an arts and culture center; in 1991, it was officially established as the Chicago Cultural Center, as it remains today.

The Chicago Pedway began in 1951 with the construction of two block-long pedestrian tunnels between State Street and Dearborn Street at the Washington and Jackson CTA stops. Since then, the subterranean system has expanded through public and private development to connect more than 50 buildings with public transit stations underground in the downtown area, so far covering roughly five miles altogether (this includes a few street-level and overhead walkways that are part of the mostly underground network). The wide variety of designs and materials that appear in the Pedway demarcates changes in ownership and also functions as a historical index of shifting standards and tastes. This section of the Pedway, situated underneath the Chicago Cultural Center, opened in 1989.

The Chicago Cultural Center's main entrance on Randolph Street, contains a cross section of the different types of fluorescent lights that illuminate the underground chambers of the Pedway. The second site of the project can be found one floor below, upon exiting the Chicago Cultural Center and entering the Pedway.

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Ana Prvački: Chicago Architecture Biennial, IL

Ricardo Alessio September 14, 2017

Chicago Architecture Biennial

Ana Prvački and SO-IL

16 September 2017 - 7 January 2018

Performance of L'air pour l'air

Saturday, 16 September 3 - 5 pm

Garfield Park Conservatory

300 N. Central Park Ave

Chicago, IL 60624

Architects SO–IL and artist Ana Prvački have created a poetic collaboration for Garfield Park Conservatory called L'air pour l'air. Part installation and part musical performance, it features an ensemble of air-filtering mesh enclosures that touch on the continuities between people, objects, and nature through a medium as ubiquitous as air. The performance debuts a composition for three wind instruments and voice by the composer Veronika Krausas, performed by a quartet of musicians from Chicago Sinfonietta, an orchestra dedicated to diversity and inclusion in classical music. Drawing upon the Conservatory's abundant plant life as inspiration, the enclosures worn by the Sinfonietta collaborators have been designed to clean the air through breath. SO-IL and Prvački's installation ensures we will always have street music, even in our smog-filled cities of the future. The more music played, the cleaner the air.

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The Guardian: ‘Underground city’ set to become Chicago’s next attraction

Ricardo Alessio September 14, 2017

‘Underground city’ set to become Chicago’s next attraction by Ella Buchan

For this year’s Chicago Architecture Biennial (until January 2018), Los Angeles architect Erin Besler and artist Fiona Connor are creating installations inspired by the walkways’ textures, fixtures and fittings. Their work will highlight “a bit of functional infrastructure that gets far less attention than the more iconic structures it serves above ground”, said Biennial executive director Todd Palmer. These will be displayed in the Chicago Cultural Center, one on the ground floor and another where its basement joins the Pedway.

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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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