ArtDaily: The Brooklyn Museum presents Flooded McDonald's by SUPERFLEX

The Brooklyn Museum presents Flooded McDonald's by SUPERFLEX

BROOKLYN, NY.- The Brooklyn Museum announces that Flooded McDonald's by Danish artist collective SUPERFLEX has been added to the special exhibition Infinite Blue and will remain on view through March 4, 2018 in the 1st floor Great Hall.

The 21-minute video slowly submerges a life-size replica of a McDonald's restaurant in water, serving an indictment to consumer and corporate influence in the face of climate change. As water levels climb, furniture, food, paper cups, and even mascot Ronald McDonald begin to float, eventually causing the wiring to short-circuit and the space to become fully submerged. SUPERFLEX began Flooded McDonald's in 2008, during the economic crisis and amid growing awareness of climate change. The collective selected McDonald's as a representative of certain multinational companies whose economic power and consumer practices contribute to global warming.

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Jorge Méndez Blake: Blueproject Foundation, Barcelona

Jorge Méndez Blake and Mateo López
From line to movement – Inventing things to do while walking
December 14, 2017 to March 4, 2018

Blueproject Foundation
Carrer Princesa 57
08003 Barcelona
Spain

"From line to movement – Inventing things to do while walking" puts into dialogue the investigations of Jorge Méndez Blake (Mexico, 1974) about literature and the practices of Mateo López (Colombia, 1978) with drawing as cornerstone. The book and the paper become devices-stimuli that unfold in endless possibilities looking for architectural, volumetric and gestural dimensions. The relationship that weaves between the language of both artists takes as a starting point the satirical novel “Flatland: a Romance of Many Dimensions” (1884) by Edwin Abbott.

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SOME LIKE IT COLD at 1301PE, SCI-Arc Channel

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.

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SUPERFLEX: One Two Three Swing! expands at Tate Modern

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.

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Jorge Mendez Blake & Pae White: NGV Triennial, Melbourne

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.

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The New York Times: The Best Art of 2017 - Rirkrit Tiravanija

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.

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Cultured: Petra Cortright: Young Artists 2018

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.”

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Fiona Connor: Laurel Doody launches Library Supply website

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.

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Jack Goldstein and Jorge Pardo: The Borgmann Donation, Stedelijk Museum, Amsterdam

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.

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Hyperallergic: Canada’s Newest Contemporary Art Museum Opens in Saskatoon

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.

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Pae White: Spacemanship, Saarland Museum, Germany

Pae White - Spacemanship
18 November 2017 - 18 March 2018

Saarland Museum
Bismarckstraße 11-15
66111 Saarbrücken
Germany

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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.

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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.

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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.

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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

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