Untitled, 2017 (detail), 3 mm coloured PETG, aluminium and steel fixtures, various dimensions. © the artist
Jorge Pardo
2 February - 24 March 2018
Victoria Miro
16 Wharf Road
London N1 7RW
Comprising paintings and large-scale chandeliers, the exhibition will draw viewers into an environment of form, colour, illumination and shadow.
Installation view, Investment Bank Flowerpots
SUPERFLEX
Cuanto más sabes, mejor decides (The more you know, the better decisions you make)
01 February - 09 September 2018
C3 Centro de Creación Contemporánea de Andalucía
Carmen Olmedo Checa
14009 Córdoba, Spain
The exhibition will be presided by the banners of the installation of Bankrupt Banks, a series of works that explore the effects of the international financial crisis since 2008. A critical view of financial institutions is also represented in two versions of Investment Bank Flowerpots. Models of the corporate head quarter buildings of the world's largest investment banks are transformed into flowerpots containing hallucinogenic plants. The suggestion that society’s greatest hallucination of all is money, is also materialised in the printed work Euphoria Now. The suggestive title is introduced on a bright background based on the colours of banknotes of the Swiss franc.
The film installation European Union Mayotte, reflecting upon migration, and the participative installation Corruption Contract are also part of the exhibition. The combination of these works pictures a critical background of discussion on some of the present political and economical issues in Spain, as well as in a global context. The title of the exhibition derives from a current marketing campaign of the bank BBVA and is intentionally speaking directly to each single visitor, as an invitation for active reflection.
Stories of Almost Everyone, book cover, organized by Aram Moshayedi
Stories of Almost Everyone
28 January - 6 May 2018
Hammer Museum
10899 Wilshire Blvd.
Los Angeles, CA 90024
Stories of Almost Everyone is an exhibition about the willingness to believe the stories that are conveyed by works of contemporary art.
Artists: Mathieu Kleyebe Abonnenc (b. 1977); Lutz Bacher; Darren Bader (b. 1978); Fayçal Baghriche (b. 1972); Kasper Bosmans (b. 1990); Carol Bove (b. 1971); Andrea Büttner (b. 1972); Banu Cennetoğlu (b. 1970); Jay Chung and Q Takeki Maeda (b. 1976; 1977); Fiona Connor (b. 1981); Isabelle Cornaro (b. 1974); Martin Creed (b. 1968) ; Cian Dayrit (b. 1989); Jason Dodge (b. 1969); Latifa Echakhch (b. 1974); Haris Epaminonda (b. 1980); Geoffrey Farmer (b. 1967); Lara Favaretto (b. 1973); Ceal Floyer (b. 1968); Ryan Gander (b. 1976); Mario García Torres (b. 1975); gerlach en koop; Iman Issa (b. 1979); Hassan Khan (b. 1975); Kapwani Kiwanga (b. 1978); Mark Leckey (b. 1964); Klara Lidén (b. 1979); Jill Magid (b. 1973); Dave McKenzie (b. 1977); Shahryar Nashat (b. 1975); Henrik Olesen (b. 1967); Christodoulos Panayiotou (b. 1978); Amalia Pica (b. 1978); Michael Queenland (b. 1970); Willem de Rooij (b. 1969); Miljohn Ruperto (b. 1971); Tino Sehgal (b. 1976); Mungo Thomson (b. 1969); Antonio Vega Macotela (b. 1980); and Danh Vo (b. 1975).
Japanese tea ceremony performance artist Mai Ueda looking out from a wooden tea house, part of a bamboo maze installation display by artist Rirkrit Tiravanija, on the roof of the National Gallery Singapore. PHOTO: AFP
Tea room in a bamboo maze on National Gallery rooftop by Akshita Nanda
Dressed in a 100-year-old samurai outfit made of Japanese hemp, performance artist Mai Ueda serves organic tea mixed with iced watermelon juice to four visitors at a time in a tearoom on the roof of the National Gallery Singapore.
The small, air-conditioned bamboo enclosure - designed by Argentina-born Thai artist Rirkrit Tiravanija - on the Ng Teng Fong Roof Garden Gallery is the heart of a new art installation commissioned by the National Gallery.
The work, which is named untitled 2018 (the infinite dimensions of smallness), will show here until Oct 28. To reach the tearoom, viewers first walk through a 4m-high, 15m-wide and 19m-long maze made of bamboo poles lashed together.
It can take a minute or an hour to reach the centre. The twisting path made by browning bamboo poles invites visitors to interact with one another and take plenty of selfies on the rooftop space.
Tiravanija, who is 57 this year, said at a media preview on Tuesday (Jan 23): "I like to make work where I don't have to tell people what to do. I want people who come to just be themselves."
The artist blurs the lines between art and everyday activities in his practice. An early work in the 1990s saw him cook and serve curry to visitors. In 1992, he constructed a teahouse stocked with leaves, so viewers could brew their own tea.
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Fiona Connor
Community Notice Board and Monochromes
Condo London 2018
(1301PE hosted by Modern Art)
13 January - 10 February 2018
Preview weekend: 13-14 January 12-6pm
Modern Art
50-58 Vyner St, London E2
1301PE is pleased to announce the opening of Fiona Connor’s exhibition, Community Notice Board and Monochromes, at Modern Art in London. The exhibition is part of Condo London 2018 and was co-produced by 1301PE and Modern Art. Condo is a collaborative exhibition by 46 galleries across 17 London spaces.
Into Action
January 13-21, 2018
1726 N. Spring St.
Los Angeles, CA 90012
Petra Cortright, smallest soldier pics* on pennies during showfall, 2017. Digital painting on anodized aluminum, 48h x 94w inches.
Petra Cortright
lambergani lambirgini lamborghini lambourgini
January 10 - March 24
Ever Gold [Projects]
1275 Minnesota St.
Suite 105, SF, CA, 94107
Petra Cortright’s core practice is the creation and distribution of digital files, whether they be videos, GIFs, or JPEGs, using consumer or corporate software and platforms. She has become renowned for making self-portrait videos that use her computer’s webcam and default effects tools, which she then uploads to YouTube. Cortright’s paintings on aluminum, linen, paper, or acrylic are created in Photoshop using painting software and appropriated images, icons, and marks. The digital files are endlessly modifiable, but at a “decisive moment” they are translated into two-dimensional objects. They become finite, yet their range of motifs and marks, and their disorienting perspectives and dimensions suggest dynamic change.
The Art World’s Strangest New Trend—Fermentation by Siobhan Leddy
Philippe Parreno recently filled the vast Turbine Hall at London’s Tate with his work Anywhen (2016–17). It featured yeast colonies, which Parreno turned into the conductors of an ever-changing symphony, enabling them to control a shifting constellation of objects, sounds, and lights. Roof sensors registered climatic conditions—whether heavy rain or, less likely in London, blistering sun—and fed the data back to the yeast through a computer. This was then relayed to the wire-suspended objects, setting them into motion. Through his bio-choreography, Parreno illustrated the interconnectedness of all things.
These artists are thematically and stylistically distinct from one another. Yet their experiments in fermentation point to a consistent desire to embrace our biological complexity and entanglement. The world is sticky and messy, ripe with a musty funk. We humans do not sit at the center of it all; we are one part of a grubby assemblage. We are plural rather than singular—and sipping on sour kombucha, or placing fat chunks of kimchi between our teeth, is a delicious kind of surrender.
Pae White considering Christopher Dresser's Soup Tureen and Ladle, c. 1877–78, Los Angeles County Museum of Art, Decorative Arts Council Fund
Artists on Art: Pae White on Christopher Dresser
Pae White wrestles in her work with the distinction between so-called high art and functional objects. At times she renders everyday objects in unexpected materials, like her larger-than-life marble popcorn sculptures, while also utilizing commercial materials, as with her chandeliers and mobiles made out of string, cut paper, and greeting cards. A Pasadena native, Pae White received her MFA from Art Center College of Design and now lives and works in Los Angeles.
For Artists on Art, LACMA’s online video series featuring contemporary artists speaking on objects of their choice from our permanent collection, White selected Christopher Dresser’s Soup Tureen and Ladle (c. 1877–78). Today, curator of modern art Carol S. Eliel speaks to White about her relationship to the object, a version of which she bought for herself many years ago at a thrift store (LACMA’s has ebonized wood fittings while her own has ivory).
You are an artist who also makes functional objects and really blurs, blends, and effaces the distinction between those two, so I’m curious what it is about this functional yet beautiful object yet sculpture that appeals to you. What made you choose this soup tureen and ladle to talk about?
I think this is an incredibly sexy object, and I think this object, designed by Christopher Dresser around 1880 in England, is a very practical idea of the soup tureen that has just slight moves that make that whole process incredibly rapturous and poetic. I’m one who believes that, depending on the quality of the glass or the lightness of something, you behave with an object differently if it has these special moments. In this case, the turn and thickness of the ladle deliver the soup in a very specific way. Everything has been carefully thought out: the termination points, the tapers—all are very well considered. And there is a hole [in the lid] that allows for the ladle to tuck in perfectly, so there's this beautiful consideration for the thickness of the ladle handle. I think all of this is worth noting: the fact that this is a pleasure in the hand, and all these points have a resolution that is extremely satisfying to actually hold, as well as this sort of seductive hardware.
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Untitled, 2017, by Pae White. Photography: Shaughn and John
NGV’s new blockbuster Triennial brings together over 100 artists and designers by Dimity Noble
Recognising the dissolution of boundaries between artistic and commercial design practices, the inaugural Triennial at the National Gallery of Victoria (NGV) surveys the work of over 100 participants from 32 countries. Beyond its tactile, interactive and technologically impressive veneer lies an epically immersive exhibition. ‘We wanted to evoke a journey of discovery and encourage participation from our audiences with a range of awe-inspiring and confronting pieces,’ asserts NGV director Tony Ellwood.
Registering a world where resources are depleting and old power structures and borders are falling, it also acknowledges emerging alternatives. Featuring tapestry, sculpture, fashion design, painting and drawing in addition to virtual realities, architecture, animation, performance and film, the Triennial examines the consequences of globalisation on a cultural, scientific, political and psychological basis. ‘The artists, designers and innovators are at the forefront of their practices ... working with a range of cutting edge technologies including robotics and 3D scanning and printing,’ adds Ellwood.
Rirkrit Tiravanija and the Politics of Cooking
Interview by William Hanley
Rirkrit Tiravanija bends over his potter’s wheel with the concentration of an ambitous amatuer. As he carefully forms a spinning wad of clay into a bowl, he seems oblivious to the visitors who have just arrived at Greenwich House Pottery in New York City, where he finished a two-month residency in November. His French bulldog, Harry, eyes the guests briefly before going back to snoozing on the floor next to the wheel. When he’s finished, Tiravanija holds up his latest ceramic creation, one of a few hundred bowls he’s crafted since he began working with clay, earlier this year. Taking a break to talk about the work, he has an assured nonchalance, like someone with a generally strong sense of purpose and direction but no particular place to be right now. “It’s kind of like a meditative activity,” he says of making pottery, though he’s not one to clear his head. “It gives you time to think about everything else you have to do, or could be doing, or dealing with. It’s like cooking that way.”
Tiravanija knows a thing or two about cooking. He rose to prominence as one of a group of artists working within a strain of participatory art now often gathered under the broad umbrella of social practice. At its core, Tiravanija’s work tees up situations that invite participants to interact with one another. This has taken the shape of everything from a 2002 re-creation of his New York apartment at the 2002 Biennial in Liverpool to a pirate television station broadcasting from the Guggenheim Museum in 2005. But Tiravanija is best known for cooking and serving meals in spaces typically reserved for more traditional exhibitions.
Some of the pottery Tiravanija produced was shipped to Frankfurt in October, where he and Tobias Rehberger sold them, along with a varying menu of dishes, at a temporary stall in the city’s historic market. Other pieces may travel to Singapore, Tiravanija says, to be used in a temporary tea house he is building at the National Gallery for a January exhibition there. His ceramics residency coincided with an exhibition at his friend and longtime dealer Gavin Brown’s galleries in New York. It featured his archive of Super 8 films, studies of people he has observed over decades, as well as screenings of his remake of Rainer Werner Fassbinder’s 1974 film “Ali: Fear Eats the Soul.” Wearing a clay-spattered apron, with Harry dutifully dozing in his lap, Tiravanija spoke about how he started cooking and why gathering people for a meal can be a defiant act.
It’s novel to see you sitting at the wheel rather than standing over the stove. Why did you start making ceramics?
Well, I’ve been making tea rooms here and there, and I was interested in the medicinal side of coffee and tea, so looking at how to serve it seemed natural. At the same time, it’s kind of interesting because I teach, and I’ve noticed the kiln in the department has become very active in the last three years. I think it has to do with people discovering the material and a getting-back-to-the-earth kind of thing. If we weren’t in the city, you could take the clay out of the ground and make everything literally from scratch. And it can also go the other way: You can use the object and return it to the ground. One of the things I’m interested in doing in the future is to make a project where you use the object and then you kind of return it—after you drink the tea, then you smash the cups.
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SUPERFLEX (Danish, founded 1993). Still from the film Flooded McDonald's, 2009. Filmed on RED; color, stereo sound; 21 min. Courtesy of 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.
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.
New Work: Kerry Tribe, 2017. Installation view, SFMOMA. Photo: Katherine Du Tiel.
Empathy in Training: Kerry Tribe’s “Standardized Patient” by Rachel Heidenry
Can empathy be taught? The Los Angeles–based artist and filmmaker Kerry Tribe ponders this question in her most recent video installation, “Standardized Patient.” The work examines the relationship between doctors and patients—or, more accurately, between medical students and actors playing patients.
Commissioned by the San Francisco Museum of Modern Art for its “New Work” series, Standardized Patient depicts a number of “Objective Structured Clinical Examinations” (OSCEs). In these simulated clinical environments, medical students practice communication skills with patients portrayed by professional actors known as “Standardized Patients” (SPs). The students take the SPs’ medical histories, ask about symptoms, offer diagnoses, and give recommendations, all the while being watched by professors, who later give feedback.
Tribe’s work evolved from her collaboration with and study of professional clinicians, communication experts, and SPs at Stanford University and the University of Southern California (USC). For this video, Tribe developed four case studies and filled the roles with USC staff participants, medical students, and SPs trained to portray both patient and student characters.
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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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