SOME LIKE IT COLD at 1301PE on SCI-Arc Channel
Please join Jan Tumlir and former SCI-Arc faculty member Christopher Michlig on SCI-Arc Channel as they break down their recent exhibition at 1301PE Gallery, "Some Like It Cold" - a somber and yet irreverent meditation on the form of the street poster in the age of digitally integrated media.
Also check out the "SOME LIKE IT COLD" - Companion Piece - Exhibition in 360 VR viewable on Firefox and Chrome.
Installation images
SUPERFLEX
One Two Three Swing! expands at Tate Modern
Tate Modern
Bankside
London SE1 9TG, UK
Today Tate Modern and SUPERFLEX are unveiling the expansion of the Turbine Hall Hyundai Commission 2017: ‘One Two Three Swing!’. It is the first Turbine Hall commission to extend beyond the walls of the exhibition space. The expansion consists of 11 new swings located outside of the gallery’s Blavatnik building. The orange line connecting the three-person swings has now emerged into the landscape outside of Tate Modern where it will be possible to activate the swings at any time of the day.
‘One Two Three Swing!’ challenges society’s apathy towards the political, environmental and economic crises of our age. 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.
NGV Triennial
National Gallery of Victoria, Melbourne
180 St Kilda Rd
Melbourne VIC 3006, Australia
15 Dec 17 – 15 Apr 18
Featuring the work of over 100 artists and designers from 32 countries, the NGV Triennial surveys the world of art and design, across cultures, scales, geographies and perspectives.
A free exhibition, the NGV Triennial is a celebration of contemporary art and design practice that traverses all four levels of NGV International, as well as offering a rich array of programs.
The NGV Triennial explores cutting edge technologies, architecture, animation, performance, film, painting, drawing, fashion design, tapestry and sculpture.
Visitors have an opportunity to look at the world and its past, present and future through the eyes of some of the most creative minds working today.
Florian Troebinger performing in the artist Rirkrit Tiravanija’s frame-by-frame re-creation of a Rainer Werner Fassbinder film, at Gavin Brown’s Enterprise.
The Best Art of 2017 by Roberta Smith
At Gavin Brown’s Enterprise in Harlem, Rirkrit Tiravanija continued his Johnsian devotion to inventing nothing with a masterpiece: a loving and infinitely touching frame-by-frame re-creation of Rainer Werner Fassbinder’s 1974 film “Ali: Fear Eats the Soul.” The story centers on Emmi, a widowed German cleaning woman, and Ali, a much younger Moroccan migrant worker, whose unlikely romance and marriage elicit every species of bigotry from those around them. The Tiravanija version has an exquisite corpse of a title: “‘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.’” It was an in-house job, shot in the gallery in four weeks with a cast consisting almost entirely of artists, friends and employees, on sets that then became part of the exhibition. The stiffness of the amateur acting gave the proceedings an odd clarity, and the random casting unsettled stereotypes, as did giving the leading female roles to men: The Swedish artist Karl Holmqvist played Emmi; Florian Troebinger, the film’s only professional actor, portrayed Barbara, the blond Germanic bar owner and Ali’s sometime lover. In keeping with Mr. Tiravanija’s relational-aesthetics pieces involving the serving of free food, Mr. Troebinger tended the bar throughout the show. As Ali, Hamid Amini, who has worked with this artist on various projects, gave the remake its center of gravity as well as a touch of Hollywood dreamboat.
Petra Cortright. Portrait by Jason Schmidt.
Petra Cortright: Young Artists 2018 by Kat Herriman
Petra Cortright’s paintings begin as Photoshop files that the artist builds up layer by layer, stroke by stroke. Her methods of mark-making varies from brushes she designs to ones she downloads and jerry rigs. The Los Angeles-based artist spends the majority of her studio time surfing for the right low-res photographs, textures and programs to abstract into her fluid landscape compositions. “The abstraction in my work comes from using really bad quality images,” Cortright says. “I don’t feel bad about ripping shitty things apart. If it is really high definition with beautiful details it feels more precious. Why abstract that? I want to cut up things that aren’t working on their own.”
A painter reminiscent of Helen Frankenthaler, Cortright dilutes her original digital medium to create images that almost seem to glow, that create a space of their own. Printed on linen, aluminum and paper, the labor of Cortright’s research process is hidden by the lightness and deftness of her mark-making.
This January, Cortright will show a suite of new paintings as well as some videos at Ever Gold Projects in San Francisco. Like previous solo exhibitions at Société Berlin and Foxy Production, the artist plans to show her physical and digital works in a straightforward way. “I try to avoid gimmicks,” she says of her exhibition strategy. “I believe work should be able to stand on its own. I’ve never made the kind of work where you need to read an essay to understand it.” When asked what she does want to conjure in her work, her instinctual response deals with integrity and beauty. “I am a sincere person who wants to make sincere work,” she says. “We are in a weird time, where everyone thinks everything has to make some kind of a commentary, and not to say that work isn’t important, but I am okay with making something that is just an escape.”
Rirkrit Tiravanija, Untitled (running out of time), 2013, featuring performance by Mai Ueda. Photo courtesy of MONA Museum of Old and New Art, Hobart, Tasmania, Australia/Rémi Chauvin.
Rirkrit Tiravanija Will Open a Hidden Rooftop Tea House at Singapore’s National Gallery by Sarah Cascone
The artist will hide a wooden tea house in the heart of a bamboo maze.
If you’re in Singapore next year, Rirkrit Tiravanija invites you to tea at the National Gallery Singapore—if you can find him.
The famed artist is set to run a tea house on the museum’s roof garden, where visitors are invited to participate in traditional tea ceremonies. But to take part in this gesture of hospitality, they will also have to locate it at the heart of a “large-scale bamboo maze.”
“We are delighted to present Tiravanija in the next Ng Teng Fong Roof Garden Commission Series, an ongoing public art initiative to welcome new audiences and deepen the appreciation of Southeast Asian art,” wrote Low Sze Wee, the museum’s director of curatorial, collections, and education, in an email to artnet News.
Tiravanija’s will run for nine months, starting in January 2018.
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Superflex's Hospital Equipment at the Salamieh Hospital, Syria, 2017. Photo Ali Shahin, courtesy Superflex and von Bartha.
Superflex’s Conceptual Hospital Exhibition Gets Put to Life-Saving Use—in a Syrian Operating Room by Brian Boucher
Victims of the raging civil war in Syria are undergoing surgery assisted by a work of conceptual art.
A hospital in the western Syrian city of Salamiyah is playing host to a unique kind of contemporary art exhibition. The three-man Danish art collective Superflex—Jakob Fenger, Rasmus Nielsen, and Bjørnsterne Christiansen—has sent a few pieces of top-notch surgical equipment to the city for the second iteration of a project ongoing since last year. The equipment will now be used to treat victims of the country’s bloody civil war.
In February, the hospital table, along with a surgical lamp and associated equipment, went on view as a single art piece at Galerie von Bartha in S-chanf, in the east of Switzerland. The artists consider the unnamed purchaser’s act of buying the table a form of art collecting, even though the buyers never take possession. The artists refer to the piece as a “readymade upside-down.”
“We want to challenge collecting itself,” Christiansen told artnet News in 2016. “Do you have to have the object, or can it be just as valuable to you that it be activated somewhere else?” The buyer gets a certificate of authenticity and a photograph of the installation.
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Laurel Doody launches Library Supply website
Laurel Doody Library Supply was founded to help solve the problems facing artists publishing on a small scale. The project works to distribute these rare and careful publications beyond artists’ social circles, while providing for their long-term safekeeping. Once a year, the project will curate a group of publications and donate full sets to five public archives around the globe. In exchange, these partner archives agree never to deaccession the works, and to tag them as part of the Laurel Doody Library Supply collection: an archive within archives.
The Library Supply project continues the legacy of Laurel Doody, a project space run out of an apartment in Miracle Mile for twelve months in 2015 – 2016, in hopes of both supporting the practices of those involved and extending these ongoing conversations to a wider, lateral audience.
Jump into the future
Art from the 90’s and 2000’s. The Borgmann Donation
25 Nov 2017 till 4 Mar 2018
Stedelijk Museum
Museumplein 10
1071 DJ Amsterdam
The exhibition Jump into the Future – Art from the 90's and 2000's. The Borgmann Donation shows an extensive number of contemporary art works from the German collector Thomas Borgmann.
Jump into the Future - Art from the 90's and 2000's. The Borgmann Donation is a major exhibition that occupies no less than 2.540 m2 - all thirty of the first-floor galleries that surround the museum’s grand staircase. The group of works that will join the collection of the Stedelijk is made up of a donation, a purchase and long-term loan. The gift is the second largest in the history of the Stedelijk. The majority of The Borgmann Donation is included in Jump into the Future.
Pae White on Turning a New Wing of Germany’s Saarlandmuseum Into a Technicolor Spacecraft by Naomi Rea
Polyester yarn was key to constructing this 45-foot-tall installation.
The Modern Gallery of the Saarlandmuseum in Saarbrücken, Germany, reopened to the public on Saturday after a year-and-a-half-long closure for the construction of an extension, designed by Berlin architects Kuehn Malvezzi.
An exhibition of new works by the American artist Pae White inaugurates the museum’s new wing, which adds eight rooms and an additional 1,500 square meters of exhibition space. White is known for her large-scale installations and her multimedia work, which has appeared in the 2009 Venice Biennale and the 2010 Whitney Biennial.
On Saturday she unveiled her latest work, Spacemanship, a site-specific, super-graphic intervention that plays with the architecture of the new wing and completely fills its 45-foot-tall atrium. The work was created in situ and was designed around the space so that it is visible from every floor of the building.
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Pae White, "<L3U~.>C≈K¥◊CHΔRMS‡" (2014/2017)
Canada's Newest Contemporary Art Museum Opens in Saskatoon by Claire Voon
SASKATOON, Saskatchewan — Some have called it the "Paris of the Prairies." It's a nickname that now seems even more apt for the fast-growing city of Saskatoon, which last month celebrated the opening of Canada's newest modern and contemporary art museum. The Remai Modern houses works by renowned Canadian and international artists as well as the largest collection of Picasso linocuts, and it aspires to be a world-class attraction that draws tourists to this urban center of Saskatchewan.
Its inaugural exhibition, Field Guide — which presents collection pieces, loans, and new commissions to "animate the entire museum with a spirit of active engagement, curiosity, and disruption" — has four massive, modular sculptures by Haegue Yang hanging from the atrium's ceiling, like Sol Lewitt-inspired chandeliers. Hallways on the second floor, with grand views of the river, are generous stages for wall text by Laurence Weiner and a transparent iteration of Philippe Parreno's "Speech Bubbles." A more inspiring use of interstitial space is the illumination of a stairwell by Pae White's zany constellation of colorful, neon symbols, which also serve as light therapy — according to the artist — to counteract seasonal affective disorder.
Field Guide continues at Remai Modern (102 Spadina Crescent East, Saskatoon, Saskatchewan) until February 25, 2018.
Pae White: Ausstellungsansicht (Detail) Foto: Tom Gundelwein
Pae White - Spacemanship
18 November 2017 - 18 March 2018
Saarland Museum
Bismarckstraße 11-15
66111 Saarbrücken
Germany
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
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
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
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
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
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"
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
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.
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.