Paul Winstanley: Print Project Space, Alan Cristea Gallery, UK

Print Project Space: Paul Winstanley

23 Mar 2018 - 5 Apr 2018

Alan Cristea Gallery

43 Pall Mall,

London SW1Y 5JG

Paintings by British artist Paul Winstanley, never before exhibited in the UK, will be shown (together with prints by the artist) in an exhibition at the Alan Cristea Gallery, London, to coincide with the launch of the artist’s new monograph, 59 Paintings.

59 Paintings, written by Winstanley, presents an artist’s personal view of how paintings are conceived, made and interpreted. He is known for his detailed, realistic paintings of often overlooked, vacant, but familiar landscapes and interiors, which are rendered in a muted palette. The exhibition will include several paintings from the monograph that come directly from the artist’s personal collection. Winstanley, who trained at the Slade School of Fine Art in the 1970s, and now lives and works in London, depicts scenes that include a woman peering out of a veiled window in Fitzrovia, a commuter asleep on the London underground’s Circle Line, a narrow ribbon of park between office blocks in Canary Wharf, and the interior of a decommissioned government building. These works are based on the artist’s own photographs.

The exhibition also includes several print series’. Veil 1-8, 2008, a set of etchings which takes as its subject the motif of the veil, presents views a of net curtain hanging in front of a window, partially revealing a wooded landscape behind. Art School I-VIII, 2016, made from a combination of wood block and photogravure, depict the interiors of British art schools. The imagery used was selected from over 200 photographs taken by Winstanley when he travelled throughout England, Scotland and Wales photo-graphing unpopulated art school studios, including the Slade School of Fine Art and Goldsmiths, London, during their summer closures.

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Petra Cortright: Bank, Shanghai

Petra Cortright & Marc Horowitz

22 March - May 20, 2018

Bank

Basement Building 2

Lane 298 Anfu Road

Xuhui District, Shanghai

BANK is proud to present Petra Cortright and Marc Horowitz, marking the first time these married, LA-based artists are exhibiting their diverse but congruent creations together, and in Shanghai. 

Cortright is the poster-girl for ‘post-internet’ art, having come to fame with her lo-fi, webcam videos that, anticipated the rise of the selfie by exploring the perception of women online through her own eccentric ‘performances’. Cortright’s practice also includes intricate “touch-screen paintings” that are the ironic fusion of personal gesture and mass-production. Using digital software, she combines appropriated and self-generated elements in fantastical, all-over compositions that are printed on aluminum or fabrics. Cortright has exhibited at the New Museum, NY; Rhizome; Venice Biennale, Whitechapel Gallery, London; as well as at UCCA and MWoods Museum, Beijing. 

Horowitz’s social interventions helped garner him big media and artistic fame in the US by poking fun at the immediate present. Surprisingly Horowitz’s recent paintings seem preoccupied with making sense of the past. His “pile paintings” layer studio visitors’ footprints with citations of Italian Master paintings, which are then obliterated by cartoon-like color explosions. The resulting works reconcile disparate forces and embody the idea that “Each painting contains the memory of painting”. Horowitz’s satirical sculptural and video works question artifact and creativity in our non-linear, nomadic times. His work has been showcased in presentations at The Hayward Gallery, London; Yerba Buena Center for the Arts, San Francisco; The Depart Foundation, LA and online with Creative Time, NY, etc.

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Judy Ledgerwood: Museum of Art and Design, New York, NY

Judy Ledgerwood: : Surface/Depth: The Decorative After Miriam Schapiro

Museum of Art and Design, New York, NY

22 March - September 9, 2018

The Museum of Arts and Design (MAD) presents Surface/Depth: The Decorative After Miriam Schapiro, an exhibition that showcases twenty-nine collage paintings by the pioneering feminist artist Miriam Schapiro in conversation with twenty-eight works by nine contemporary artists: Sanford Biggers, Josh Blackwell, Edie Fake, Jeffrey Gibson, Judy Ledgerwood, Jodie Mack, Sara Rahbar, Ruth Root, and Jasmin Sian. Bringing into focus the key, but unheralded, role Schapiro played in the reframing of craft and decoration in the American art world, this juxtaposition of historic and contemporary work highlights ways in which the decorative continues to be utilized as a critical tool in art today.

A site-specific tempera mural by Judy Ledgerwood, Chromatic Patterns for the Museum of Arts and Design is inspired by the history of abstract painting as well as a range of domestic textiles. Reveling in the promiscuity of pattern and the association of the decorative with the female body, sensuality, and immersive experience, Ledgerwood offsets the gallery’s architecture and the logic of her underlying gridded composition with an animated floral motif and a seductively intense color palette.

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Rirkrit Tiravanija: Schirn Kunsthalle, Frankfurt, Germany

Rirkrit Tira­vanija: Power to the People. Political Art Now

Schirn Kunsthalle 

Römerberg
60311 Frank­furt

March 21 - May 27, 2018

Democ­racy appears to be in crisis; the post-demo­c­ratic era has already dawned. The symp­toms are mani­fold: populist leaders, fake news, auto­cratic back­lash, total­i­tarian propa­ganda, neolib­er­alism. However, tenden­cies toward a repoliti­cized society have been palpable for some time now. Artists too are increas­ingly raising objec­tions. They create works that they see as instru­ments of crit­i­cism and which expressly pursue polit­ical inten­tions. In a major exhi­bi­tion, the SCHIRN brings together artistic posi­tions which can be read as seis­mo­graphs of contem­po­rary polit­ical activity. It focuses on funda­mental issues and the exam­i­na­tion of the phenomena and possi­bil­i­ties of polit­ical partic­i­pa­tion. The works call polit­ical posi­tions into ques­tion, illus­trate forms of protest, and set their sights on artistic involve­ment. Instal­la­tions, photographs, videos, paint­ings and sculp­tures by Phyl­lida Barlow, Andrea Bowers, Julius von Bismarck, Sam Durant, Omer Fast, Adelita Husni-Bey, Hiwa K, Ahmet Öğüt, Rirkrit Tira­vanija and Forensic Archi­tec­ture docu­ment the erosion of demo­c­ratic achieve­ments and the active pres­sure of the new mass move­ments. They analyze discourses on domi­nance and noncon­formist inter­jec­tions, develop strate­gies of oppo­si­tion, and reflect the imag­i­na­tive ways of the new protest culture.

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ARTNEWS: Charline von Heyl Painting Survey to Travel from Germany to Washington, D.C.

Charline von Heyl Painting Survey to Travel from Germany to Washington, D.C. by Andy Battaglia

A survey of paintings by Charline von Heyl will be mounted in Germany in June at the Deichtorhallen Hamburg and then, for what is being billed as the largest American museum survey yet of the German-born, U.S.-based artist, will travel in the fall to the Hirshhorn Museum and Sculpture Garden in Washington, D.C.

After the German incarnation of the show—to run June 22 through September 24—approximately half of the works will head Stateside while the others will go on to show at the Dhondt-Dhaenens museum in Ghent, Belgium. The Hirshhorn exhibition, to open November 1 and continue into February 2019, will focus on the U.S.-based loans from the German exhibition, including some 30 paintings made since 2005.

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Fiona Connor: Hopkinson Mossman, Wellington

Fiona Connor: Closed Down Clubs & Monochromes

9 March - 14 April, 2018

Hopkinson Mossman, Wellington, New Zealand

Contemplating the different times suspended in the object opens up a connection between the sculpture, a thing in the world, and an awareness of myself as a thing in the world, something that’s been used and worn, something that holds many different stories. Time may be the deep link that connects us to the things of our world, and reading and re-reading the material signs of time passing allows these fictions and histories to resonate and echo within them.*

Hopkinson Mossman is pleased to present Closed Down Clubs & Monochromes, a solo exhibition of new work by Fiona Connor, and the inaugural exhibition in the Wellington gallery program.

Fiona Connor uses strategies of repetition to produce objects that interrogate their own form and the contexts in which they are encountered. Reconstructing a public drinking fountain, a kitchen wall, a notice board from the local café or brick production plant, her work engages different vernacular architectural histories embedded within our built environment. Closed Down Clubs & Monochromes comprises two distinct bodies of work that, while materially divergent, both interrogate the material and temporal course of an object’s ontological existence.

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Rhizome: Petra Cortright: The Ephemera Mine

The Ephemera Mine by Bruce Sterling

This article accompanies the inclusion of Petra Cortright’s VVEBCAM in the online exhibition Net Art Anthology. The vintage punctuation of “net.art” here reflects the preferences of the author. For more about spelling and punctuation, see Rhizome’s style guide. – Ed.

How did one know that Petra Cortright was a “net.artist”? It was because YouTube was expelling her.

This particular Cortright video, VVEBCAM, looks inoffensive on the face of it. The face is Petra Cortright’s, and she’s examining the screen with much the same bemused expression as the online viewer.

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Ana Prvacki: In Residence, de Young Museum, San Francisco, CA

March 1, 2018 – August 26, 2018

The Fine Arts Museums are rethinking how we engage contemporary artists across both museums, experimenting with ways that their contributions can resonate even more strongly among museum audiences, in more immediate dialogue with the architecture, operations, and collections. Rather than presenting traditional exhibitions of artworks, we are inviting some artists to think about the museums more experientially, beginning with artist Ana Prvački, who has been visiting the de Young since summer 2017 to research all areas of its activities and imagine new ways of seeing and experiencing the museum. Still in development, Prvacki’s project will result in multiple components in the spring and summer of 2018, including performance, an alternative tour of the facilities, and interventions into the building and collections.

Prvački is a cross-disciplinary artist whose works take the form of diverse projects that draw on performance, daily practices, consumer aesthetics, and popular concerns. Most often her projects are participatory, using humor as a means for disarming traditional museum activities and behaviors, and ephemeral elements as a nod to an environmentally conscious artistic practice. She has realized solo exhibitions and projects at the UCLA Hammer Museum, Los Angeles; the Isabella Stewart Gardner Museum, Boston; and the Castello di Rivoli Museo d’Arte Contemporanea, Turin. Her work has also been included in many international exhibitions, including the 14th Istanbul Biennial and dOCUMENTA 13. Her performances have been commissioned by the LA Philharmonic and the Chicago Architecture Biennial, among others.

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Petra Cortright: CAM WORLS, UTA Artist Space, Los Angeles, CA

FEBRUARY 24 - APRIL 7, 2018

UTA Artist Space is pleased to present CAM WORLS, the first large-scale survey of Petra Cortright’s video work. Fifty of the artist’s videos, made between 2007 and 2017, will be on display, including eighteen never-before-exhibited artworks. The gallery will celebrate with an opening reception on Saturday, February 24, 2018, from 5-7PM.

Cortright’s computer-based practice pioneered a new kind of internet art. The videos in the show will trace the gradual evolution of her online presence, and a practice of perpetual modulation of over ten year of internet ephemera that mines decorative motifs from flowers to the female body. The archival impulse behind her work stresses the visual catchiness and mutability of the digital image, as well as the delicate and self-conscious act of putting oneself “online.” As an artist who “grew up on the internet,” Cortright carefully erects and investigates online trends of personhood as they appear in the culture, from the front-facing camera antics of solipsistic young girls on social media to virtual strippers.

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KQED: Video Installation of Medical Training Breaks Down Art and Science Divide

Among its many characters, Los Angeles-based artist Kerry Tribe’s sharp and riveting video at SFMOMA, Standardized Patient, features a woman in a doctor’s office who isn’t quite sure why she’s there.

Standardized Patient tracks doctors-in-training interacting with “standardized patients”: actors portraying characters with specific motivations, family backgrounds, personalities, and sets of symptoms. The camera follows the doctors as they discern the actor-patients’ ailments and communicate a treatment plan.

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Jorge Mendez Blake: All Eyes Are Suddenly on Guadalajara's Thriving Art Scene

All Eyes Are Suddenly on Guadalajara's Thriving Art Scene by Michael Slenske

Here's our guide to Mexico's newest creative hotbed and a look at its ever-more-popular PreMaco festivities

Nowadays, whenever you travel to a destination with an emerging art scene, you are almost always told that the city is the Los Angeles of whichever nation you are visiting. It’s a phenomenon you might call Second City Syndrome, which suggests the locale is on an upward cultural trajectory. Such was the spirit this past weekend in Guadalajara, Mexico, during the fourth edition of the city’s PreMaco festivities—filled with openings, studio visits, and parties that offered a precursor to this week’s blockbuster Zona Maco fair in Mexico City, now in its 15th year. As I discovered, this second city’s charms were best expressed by its distinctions from, not mimicry of, the CDMX scene.

That such a scene exists at all is a tribute to the reach of Dávila and his lifelong pals Gonzalo Lebrija and Jorge Méndez Blake. By establishing such formidable studio practices in Guadalajara they have become the real drivers behind PreMaco. All three artists show locally at Travesia Cuatro, the Madrid/Guadalajara gallery which sits next to Demetria in Casa Franco, a 1929 Luis Barragán home. Prior to joining the gallery, the trio ran its own exhibition space, Oficina para Proyectos de Arte (OPA), which gave early shows to international stars like Friedrich Kunath, Anri Sala, Liz Craft, and Pipilotti Rist. Another international star, Martin Creed, touched down in GDL to install one of his balloon installations at the top of Vía Libertad tower, a mixed-use complex redesigned by GDL firm SPRB that draws a hip crowd to its Mercado Mexico (filled with boutiques and cafés) in the plaza at its base. Also of note was an elegant archival show of multimedia works related to The Aesthetic Machine, a libidinous 1975 sculpture by Mexican abstract icon Manuel Felguérez at Páramo Galeria, which just opened a secondary space on the Upper East Side (and a Mexico City residence). Páramo also showed a suite of paintings and performance works by rising GDL talent Emanuel Tovar, who unveiled a transcendent new performance, Ritos estructurales, on the island of Mezcala on Sunday.

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Fiona Banner: Turner Contemporary, Margate, UK

Fiona Banner: Journeys with "The Waste Land"

Turner Contemporary

Rendezvous
Margate CT9 1HG, UK

3 February - 7 May, 2018

Presenting over 60 artists, and almost 100 objects, the exhibition includes works by Fiona Banner, Cecil Collins, Tacita Dean, Elisabeth Frink, Patrick Heron, Edward Hopper, Barbara Kruger, Helen Marten, Henry Moore, Paul Nash, Paula Rego, John Smith and JMW Turner. The exhibition explores how contemporary and historical art can enable us to reflect on the poem’s shifting flow of diverse voices, references, characters and places.

The exhibition is the culmination of a three year project designed to develop a pioneering approach to curating. Local residents, coming together as the Waste land Research Group, have developed the entire exhibition. Journeys with 'The Waste Land' is consequently the result of many months the group have spent discussing personal connections between art, poetry and life.

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The Times article

The Guardian article

Jorge Pardo: Victoria Miro, London, UK

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.

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SUPERFLEX: Centro de Creación Contemporánea de Andalucía, Spain

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.

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Fiona Connor: Stories of Almost Everyone, Hammer Museum, Los Angeles

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).

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Fiona Connor: Modern Art, Condo London 2018

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.

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Ana Pravcki: Into Action, Los Angeles

Into Action
January 13-21, 2018
1726 N. Spring St.
Los Angeles, CA 90012

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