Pae White - Spacemanship
18 November 2017 - 18 March 2018
Saarland Museum
Bismarckstraße 11-15
66111 Saarbrücken
Germany
Pae White: Ausstellungsansicht (Detail) Foto: Tom Gundelwein
Diana Thater, Delphine, 1999. Installation view, Kulturkirche St. Stephani, Bremen, Germany, 2009. Courtesy the artist and David Zwirner, New York/London. Photo by Roman Mensing. © Diana Thater
ICA Watershed to Open with Diana Thater Artwork
ICA Watershed to Open with Diana Thater Artwork
Inaugurating the new ICA Watershed in East Boston will be two artworks by artist Diana Thater (b. 1962, San Francisco) that create immersive experiences through light and moving-image projections. The new space is scheduled to open in summer 2018.
“With the opening of the Watershed, the ICA once again transforms the cultural landscape of Boston and its waterfront through contemporary art,” said Jill Medvedow, Ellen Matilda Poss Director. “The Watershed is a new opportunity for artists and audiences to experience the industrial, maritime, and social history of Boston, build a connection between the neighborhoods of East and South Boston, and activate our beautiful harbor through art, water transportation, and public access.”
The installation will center on Thater’s artwork Delphine, reconfigured in response to the Watershed’s raw, industrial space, and coastal location. In this monumental work, underwater film and video footage of swimming dolphins spills across the floor, ceiling, and walls, creating an immersive underwater environment. As viewers interact with Delphine, they become performers within the artwork, their own silhouettes moving and spinning alongside the dolphins’.
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Kerry Tribe, still from Exquisite Corpse, 2016
Kerry Tribe: Lecture at Minnesota Street Project, San Francisco
Lecture with Kerry Tribe
Tuesday, November 14, 2017 - 7PM
Seating is on a first come, first-served basis.
Minnesota Street Project
1275 Minnesota Street
San Francisco, CA 94107
Kerry Tribe works primarily in film, video, and installation. Focusing on the mechanics of representation--particularly cinematic representation--its metaphoric potential and its engagement with reality, her art addresses processes of thought and their relationship to subjectivity, narrative, place and time. Employing image, text, sound, structure, and space, her work plays upon the internal workings and ingrained habits of the mind, its unavoidable quirks, flaws, and shifting fault-lines. Stimulating both reflexive experience and a reflection upon such experience, she prompts an unusual type of self-consciousness, a disorienting and discomforting awareness of the gaps between perception, cognition, and memory, the fluidity-and ultimate unreliability-of each.
New Work: Kerry Tribe is on view at San Francisco Museum of Modern Art from October 7, 2017 to February 25, 2018.
Ana Prvacki: Artist talk at Ladera Oeste, Guadalajara
Ana Prvacki artist talk
About Stealing Shadows
Saturday, November 11th 19—20 h
LADERA OESTE
Colonias 221 Piso 8
Col. Americana
44160 Guadalajara
Mexico
With this series of works Prvacki explores the inherent potential present in the act of emulating, measuring the symbolic distance that exists between the original object and the insinuation. The shadow is a gratuitous copy of the object, Prvacki takes advantage of this availability in order to dematerialize the original and transform it into a portable presence. This gratuitousness is not only metaphorical, but it has incidence in reality. The cultural capital of sculptural artworks remains linked exclusively to the object itself, while the images that reproduce the object are valued and legitimized as the work in the realm of the faithful representation, the visual copy; the shadow appears in a very ambiguous dimension, as a byproduct that exists in the periphery of authorship, only as a suggestion.
Judy Ledgerwood, Celadon Large Bowl with Scored Motif, 2017
Judy Ledgerwood: Hausler Contemporary, Munich
Judy Ledgerwood
Every Day is Different
November 9, 2017 – January 12, 2018
Hausler Contemporary
Maximilianstrabe 35, Eingang Herzog-Rudolf-Strabe
DE – 80539 Munchen
Germany
Hausler Contemporary Munchen proudly presents for the first time ceramics by Judy Ledgerwood that she developed in 2016/17 at Porzellanmanufaktur Nymphenburg. In combination with recent paintings, the artist's exhibition again celebrates color, form and ornament – elements with which she simultaneously knits a dense net of symbolic and art historical references.
Like almost no other artistic position, American painter Judy Ledgerwood (1959, Brazil, US, lives in Chicago, US) shows courage for shiny colors and ornaments. Her canvasses and wall paintings captivate viewers with their rhythmized aesthetics that is full of intentional breaks and contains reflections on femininity just as multilayered art historical references. Furthermore, her works represent a permeable border between fine arts and applied arts. Several residencies at Porzellanmanufaktur Nymphenburg since 2016 now offered Ledgerwood the unique occasion to further pursue her artistic approach in traditional handicraft.
Ann Veronica Janssens, MuHKA, Antwerp, 1997, Artificial fog, natural light
Ann Veronica Janssens: Esther Schipper, Berlin
Ann Veronica Janssens
Ich rede zu Dir wie Kinder reden in der Nacht
November 4 – December 16, 2017
Esther Schipper
Potsdamer Strasse 81E
D-10785 Berlin
Pae White: "Pomona"
Artlyst: Bloomberg Launches Art-worthy New European Headquarters - Pae White: “Pomona”
Bloomberg Launches Art-worthy New European Headquarters - Pae White: "Pomona
I have just returned from an outing to Bloomberg's new European headquarters in London and it certainly doesn't disappoint. The building designed by Sir Norman Foster is almost entirely sustainable, and filled with Contemporary art treasures commissioned by Michael Bloomberg himself along with two other curator/advisers.
Artists include Michael Craig-Martin, Olafur Eliasson, Arturo Herrera, Cristina Iglesias, David Tremlett and Pae White who have created site-specific works for Bloomberg's building. The works are complemented by an existing work by Ben Langlands & Nikki Bell and a new commission by Isabel Nolan for Bloomberg SPACE. The building, situated in the heart of the City of London. Space will now be a purpose-built gallery for new commissions and exhibitions.
Pae White's "Pomona" is located on the ground floor in the auditorium's pre-function space. The suite of three tapestries weaves together the artist's fascination with historic textiles and the natural world. They are inspired in part by traditional textile "samplers" that would have been stitched by hand. Each tapestry is approximately 10 feet high and spans a width of approximately 40 feet. Together, the three tapestries envelop visitors as they enter the space.
Jack Goldstein: Meliksetian | Briggs, Los Angeles
Jack Goldstein
Selectric Works
October 28 to December 16, 2017
Meliksetian | Briggs
313 North Fairfax Avenue
Los Angeles CA 90036 USA
A graduate assistant for John Baldessari's first class in his Post-Studio Artprogram at Cal Arts in the 1970s, Goldstein (1945-2003) became best known as a key figure of the Pictures Generation, a group of artists who came to prominence in the late 1970s and early 1980s, their practice characterized by the embrace of mass media imagery and what critic and curator Douglas Crimp called the "processes of quotation, excerptation, framing and staging."
The Selectric Works, made during a period between 1988 and 1990, are part of Goldstein' practice of writing and making text-based works, following the production of his one-line Aphorisms and the basis of his well-known typographic portfolio, Totems. The name Selectric given to these works refers to the '80s era IBM electric typewriter that Goldstein used to make them, a machine characterized by its rotating type mechanism, an interchangeable ball which gave one the ability to choose various font and type styles. These works centered on 17 x 11-inch sheets of paper introduced a graphic component into his textual work.
Fiona Banner & Kerry Tribe: Imperial War Museum, London, UK
Age of Terror: Art since 9/11
26 October 2017 - 28 May 2018
Imperial War Museum, London
Lambeth Road
London SE1 6HZ
See the UK's first major exhibition of artists' responses to war and conflict since the terrorist attacks on 11 September 2001. Age of Terror: Art since 9/11 will feature more than 40 British and international artists.
The complex issues surrounding the global response to 9/11, the nature of modern warfare and the continuing state of emergency in which we find ourselves have become compelling subject matter for contemporary artists.
Philippe Parreno: Museo Jumex, Mexico City
Philippe Parreno
La levadura y el anfitrión (The Yeasts and The Host)
26 October 2017 - 11 February 2018
Museo Jumex
Miguel de Cervantes Saavedra 303
Colonia Granada
11520 Mexico City
Museo Jumex presents La levadura y el anfitrión (The Yeasts and The Host) the first exhibition in Mexico by French artist Philippe Parreno.
One of an influential generation of artists emerging in the 1990s, Parreno has pioneered new forms of art through collaboration, participation and choreographed encounters where "the exhibition is conceived as a scripted space, like an automaton producing different temporalities, a rhythm, a journey, a duration." His most ambitious installations have used systems to orchestrate the exhibition. These have included musical notations, weather patterns, and living organisms to trigger sound, video and lighting conditions within the gallery. For Museo Jumex, Parreno presents an expanded proposal over two floors. Combinations of new, existing and re-edited works are overlaid to produce different realities and experiences in an ever-changing composition.
At the centre of the exhibition, on the second floor of the museum, is the control centre. Here a bioreactor breeds yeast connected to a computer that remembers the program of a past exhibition (Anywhen, Parreno's Tate Modern Hyundai Commission 2016 in London). These living colonies are now exposed to a new context and are reacting to it. The dynamic systems trigger the order of appearances of events in the gallery space such as the projection of a film or the sound and light movements that reverberate throughout the building. By turning control of the show over to natural systems, Parreno's work explores the realm between the human mind (el anfitrión) - the host that choreographs the exhibition and other spectral forms of intelligent or emergent matter and activity.
Jorge Pardo, Self Portraits, 2017
Jorge Pardo: Petzel Gallery, New York
Jorge Pardo
Self Portraits
27 October 2017 - 6 January 2018
Petzel
456 W 18th Street
New York, New York 10011
Candid snapshots of Jorge Pardo in workaday situations—man-spreading in a chair, strolling down the street, posing in Brazilian swim trunks—taken by friends, family, studio assistants, as well as up-close-and-personal Selfies, are the foundation for these 15 new paintings. And then the metamorphosis begins, simultaneously upending what defines a painting and a self portrait. Amalgamating craftsmanship and computerized manipulation with a range of media, Pardo creates an intricate, hybridized fusion of painting and sculpture. The images are bastardized—blown-up, engraved, laser-cut, hand-painted and back-lit with LEDs, to produce, in some cases, vast ornamental objects. Tiers of milled, perforated wood and Plexiglas overlap and interact on a relief which dissipates and parodies both self and portrait. Transparency, light, and color add further layers of complexity to these works—when illuminated the shapes, patterns and subjects within the paintings alter. A larger transformation occurs when the works are hung from the ceiling; the paintings morph into seemingly weightless light-boxes.
Ana Prvacki, "Music Stand," 2015, Wood, poured resin and mixed media on paper, 53 x 19 x 19 inches
Ana Prvacki: Homeward Bound, Nicodim, Los Angeles
Homeward Bound
21 October - 22 November 2017
Opening: 21 October 6-8pm
Nicodim Gallery
571 S Anderson St Ste 2
Los Angeles, CA 90033
Lisa Anne Auerbach • Elmer Batters • Razvan Boar • Melanie Bonajo • Monica Bonvicini • Polly Borland • Chris Burden • Michiel Ceulers • Karon Davis • Nancy Grossman • Namio Harukawa • Philipp Kremer • Lazaros • Kris Lemsalu • Atelier von Lieshout • Monica Majoli • Bjarne Melgaard • Daido Moriyama • Ciprian Muresan • Simphiwe Ndzube • Ana Prvacki • Gus Van Sant • Eric Stanton • Ruben Verdu • Robert Yarber • and more…
"The drabness of her daily life made her dream of luxury, her husband's conjugal affection drove her to adulterous desires. She wished he would beat her so that she could feel more justified in hating him and taking vengeance upon him. She was sometimes amazed by the horrible conjectures that came into her mind; and yet she had to go on smiling, hearing herself told over and over that she was lucky, pretending to be happy, letting everyone believe it!" —Madame Bovary, Gustave Flaubert
Jack Goldstein & Philippe Parreno: Field Guide, Remai Modern, Saskatoon, Canada
Field Guide
21 October 2017 - 25 February 2018
Remai Modern
102 Spadina Crescent East
Saskatoon SK S7K 0L3
Canada
Remai Modern's inaugural exhibition animates the entire museum with a spirit of active engagement, curiosity and disruption. Presenting a series of singular positions and coherent groupings of works, Field Guide introduces the museum's program philosophy and direction. Works from the permanent collection are placed in dialogue with contemporary projects, commissioned pieces and immersive installations. Through an open framework, Field Guide invites consideration of a network of issues and questions impacting art and society today.
Featuring leading artists from Saskatchewan, Canada, and the world, Field Guide rethinks the idea of "modern" from multiple cultural, geographic, historic and contemporary perspectives. Legacies play an important role and act as a formative nucleus for the exhibition—both the legacy of modernism and that of our predecessor the Mendel Art Gallery, from which Remai Modern inherited a collection of nearly 8,000 works. Field Guide also signals the start of a new chapter, debuting many key acquisitions that speak to the aspirations and future growth of the collection.
Fiona Connor: Community Notice Board, High Desert Test Sites 2017, Joshua Tree
An Ephemeral History of High Desert Test Sites: 2002-2015
High Desert Test Sites 2017
21 & 22 October 2017
The exhibition will remain on view from 11am to 5pm on October 21, 22, 28, 29, November 4, 5, 11, 12.
Community Notice Board: Fiona Connor
COPPER MOUNTAIN MESA COMMUNITY CENTER
65336 Winters Rd
Joshua Tree, CA 92252
This year's iteration of High Desert Test Sites is built around An Ephemeral History of High Desert Test Sites: 2002-2015, a month-long exhibition focused on the project's history. In addition, a pseudo-symposium titled The Palm Talks compliments the exhibition with live music and presentations on the topic of non-communities.
An Ephemeral History of High Desert Test Sites presents an incomplete and partial look at the organization's fifteen-year history, based on the artifacts, ephemera, and facsimiles that have been recovered by High Desert Test Sites and past participating artists. It has prompted a desire to document the organization's history, to create a living archive of contributions that were otherwise ephemeral and temporary, and to observe the narrative of the gathered material in order to tell the story of the organization, the vast community of artists involved, and the landscape that has witnessed these activities.
High Desert Test Sites 2017 is complimented by new projects and contributions by Fiona Connor, Bob Dornberger and Sarah Witt, Neil Doshi, Edie Fake, Glenn-Murray & Co., Oliver Payne, Carolyn Pennypacker Riggs, and Ry Rocklen.
Jorge Méndez Blake, Pangram I, 2015 © Courtesy de l'artiste et Meessen De Clercq, Brussels, photo : D.R
Jorge Mendez Blake: Frac Franche-Comté, France
Montag or the library-in-the-making
14 October 2017 - 14 January 2018
rac Franche-Comté
2, passage des arts, 2
5000 Besançon, France
Montag or the library-in-the-making explores the links between literature and the visual arts, reflecting artists' unflagging interest in the literary medium. It brings together some thirty works on the subject, either in the form of adaptations of famous texts via the visual arts (sculpture, videos, installation, design, etc.) in particular, or by directly reworking the textual matter, subjecting it to a host of transformations, new twists, recoups and other 'affronts'. A final section is devoted more specifically to libraries, as well as to books, which are regularly the targets of censorship in repressive political regimes; in view of such violations book production has become stronger than ever among artists for whom literature remains an unrivalled field of experimentation and who are highly instrumental in its revival.
Ignasi Aballí, Francesco Arena, Daniel Gustav Cramer, Dora Garcia, Mark Geffriaud, Rodney Graham, Camille Henrot, Claire Fontaine, Gary Hill, David Lamelas, Jorge Méndez Blake, Jean-Christophe Norman, Claudio Parmiggiani, Estefanía Peñafiel Loaiza, Katie Paterson, Lili Reynaud Dewar, Özlem Sulak, The Book Lovers (David Maroto et Joanna Zielinska), Thu Van Tran, Oriol Vilanova
Kerry Tribe, Here & Elsewhere, 2002, 2-channel DVD projection, 10:30 minutes loop,
Stills from video
Kerry Tribe: OK Center for Contemporary Art, Linz, Austria
Alice in Wonderland
Oct 21, 2017 - Apr 02, 2018
OÖ Kulturquartier
OK-Platz 1
4020 Linz, Austria
For more than 150 years the adventures of Lewis Carroll's Alice in Wonderland have moved not only the imagination of children, but are also inspiration for art, mathematics, physics and, of course films.
As if in a dream Alice falls from one queer scene into another, and despite of the confusion and the nonsense she tries not to loose the thread. The roles are exchanged: In the story, Alice suddenly finds herself in the position of the adult and the rational. She grows, shrinks and jumps from one level of meaning to another, she finds herself in a world where everything is possible. A proper portion of curiosity is her great driving force. But also thanks to her tremendous self-confidence, she does not stop in spite of occasional fear.
The exhibition area of the OÖ Kulturquartier with the OK in its great variety and complex architecture is an ideal backdrop for such a wonder world. Focusing on key elements of Lewis Carroll's classic, such as the dream, nonsense, the queer, time, order and chaos, but also play, the exhibition tells a wondrous narration with performative elements throughout the exhibition spaces.
Kerry Tribe, Standardized Patient, 2017 (detail, production still); commissioned by SFMOMA
Kerry Tribe: New Work, San Francisco Museum of Modern Art
New Work: Kerry Tribe
San Francisco Museum of Modern Art
7 October 2017 - 25 February 2018
SFMOMA
151 Third Street
San Francisco, CA 94103
1301PE is pleased to announce the opening of Kerry Tribe's exhibition, New Work, at SFMOMA. The exhibition premieres an SFMOMA commission by the Los Angeles–based artist and filmmaker that offers insight into the work of Standardized Patients—professional actors who portray patients in a simulated clinical environment as part of medical students' training. The multi-channel video installation explores questions of empathy, communication, and performance, and was developed through Tribe's close collaboration with professional clinicians, communication experts, and Standardized Patients at Stanford University and the University of Southern California. In this, Tribe's first solo exhibition at a major U.S. museum, the artist builds upon her history of engaging individuals from the acting and medical communities and exploring the willing suspension of disbelief.
SUPERFLEX: One Two Three Swing!, Tate Modern’s Turbine Hall Commission, London
SUPERFLEX: One Two Three Swing!
Hyundai Commission 2017
Turbine Hall, Tate Modern
3 October 2017 - 2 April 2018
Tate Modern
Bankside
London SE1 9TG
1301PE is pleased to announce the opening of SUPERFLEX's exhibition, One Two Three Swing!, for the Tate Modern's 2017 Hyundai Commission. Through an unprecedented partnership with the Tate Modern's community development program, One Two Three Swing! is the first Turbine Hall commission to move beyond the gallery walls. Conceived in states of apathy, production, and movement, the work extends as an orange, human-powered line from the Turbine Hall gallery, into the Tate Modern's south landscape, and around the world. SUPERFLEX engages the productive potential of the building itself, a former power station that once produced electricity for the City of London, through the strategy of 'extreme participation' introduced in 2012 through the urban park project Superkilen. Any visitor to the Turbine Hall is invited to suggest a connection for the orange line, One Two Three Swing! engages the public in experiencing the potential of collective movement by swinging together on the count of three – One Two Three Swing!
The Guardian, In full swing: Tate's Turbine Hall turned into adult playground by Mark Brown
Evening Standard, Tate Modern's Turbine Hall transformed into giant playground full of swings by Robert Dex
Telegraph, A whimsical exercise of shallow metaphor: Superflex, Tate Modern by Mark Hudson
Photo: White Cube (George Darrell)
Ann Veronica Janssens: Inside the White Cube, Bermondsey, London, UK
Ann Veronica Janssens
Inside the White Cube, Bermondsey
27 September - 12 November 2017
White Cube Bermondsey
144 – 152 Bermondsey Street
London SE1 3TQ
This is the first extensive solo exhibition of Janssens's work in the UK and includes new and recent sculpture and installation.
Janssens explores spatio-temporal experience and the limits of perception through precise installation and minimal sculpture. 'I investigate the permeability of contexts' she has said, '[...] even as I propose a form of deconstruction that fragments our perception of these contexts.' Her first works, made during the 1980s, were constructions or spatial extensions of existing architecture such as Gallery inexistent, Antwerpen (1988), an installation created by stacking borrowed concrete blocks in a gallery space. Since then, however, she has often applied scientific knowledge to the use of non-material mediums such as light, mist or sound. Her works can act like triggers, encouraging heightened visual awareness by exposing or revealing the transitory conditions of particular situations and a slowing down of perception.
A biennial performance at the Garfield Park Conservatory was a collaboration between New York firm SO-IL and artist Ana Prvački, with music by the Los Angeles composer Veronika Krausas. (Iwan Baan)
LA Times: 'Make New History,' the second Chicago Architecture Biennial, brings the focus back to square one
'Make New History,' the second Chicago Architecture Biennial, brings the focus back to square one by Christopher Hawthorne
Architecture has taken an extrospective turn in recent years, looking outside itself for new ideas and to measure its progress. Or maybe just to feel more useful in a world flooding, burning and generally coming apart at the seams. Among its most visible and lauded figures have been dedicated populists like Chile's Alejandro Aravena. It has made engagement — political, humanitarian and environmental — a key priority.
"Make New History," the second edition of the Chicago Architecture Biennial, shifts the focus back inward. This elegant and densely layered exhibition, organized by the Los Angeles architects Sharon Johnston and Mark Lee, argues that architecture can (and should) find the motivation for new work within the discipline itself, within its own stores of self-knowledge and tradition.
As the title suggests, "Make New History" takes as its explicit theme the return to the past, to architectural precedent, that's increasingly a touchstone for younger architects. It's true that emerging and midcareer firms are these days producing work that's grounded in history — and even prehistory, with buildings that look less neoclassical than primitive or primordial — to a degree not seen since the 1970s and '80s.
In another echo of the 2015 show, this one makes a point of breaking out of the Cultural Center and positioning events around the city. During the opening weekend there were performance pieces at Mies van der Rohe's Farnsworth House in Plano, Ill. (where L.A.'s Gerard & Kelly sent dancers careening through the interior, down its travertine steps and across its lawn) and at Chicago's Garfield Park Conservatory (where a meditation on air, breathing and the environment from the New York firm SO-IL and artist Ana Prvacki, with music by the Los Angeles composer Veronika Krausas, hid four musicians inside thin, white prophylactic suits that suggested a charmingly low-tech combination of mascot outfits, air filters and the gear beekeepers wear).
More articles:
ArchDaily
ArchDaily China
Dezeen
Designboom
Architectural Digest
Architects Newspaper
Floornature.com