Jessica Stockholder elected to the American Academy of Arts & Sciences

1301PE is proud to recognize its artist, Jessica Stockholder, as one of the newest member of the American Academy of Arts and Sciences, class of 2018.

As part of the American Academy of Arts and Sciences' commitment to recognizing and celebrating excellence, 213 individuals in a wide range of disciplines and professions have been elected as members of the Class of 2018. Founded in 1780, the Academy honors exceptional scholars, leaders, artists, and innovators and engages them in sharing knowledge and addressing challenges facing the world. The new members of the Academy were elected in 25 categories and are affiliated with 125 institutions.  

"Membership in the Academy is not only an honor, but also an opportunity and a responsibility," said Jonathan Fanton, President of the American Academy. "Members can be inspired and engaged by connecting with one another and through Academy projects dedicated to the common good. The intellect, creativity, and commitment of the 2018 Class will enrich the work of the Academy and the world in which we live." 

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1301PE will be participating at Acid-Free Art Book Marke

Opening: Friday, May 4, 6-9pm; Saturday & SUnday, 11-7pm

Where: Blum & Poe (2727 La Cienega Boulevard, Los Angeles)

While the art book community in Los Angeles isn’t especially big, it is significant enough to dominate the 70 stands of the brand-new Acid-Free Art Book Market. The three-day event will take place from May 4 to 6 and is organized by various members of the Los Angeles art community. These include independent publishers New Documents and DoPe Press, stores like OOF Books, and blue-chip galleries Gagosian and Blum & Poe, which will be hosting the events.

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Philippe Parreno: Gropius Bau Berlin

Philippe Parreno, Untitled solo exhibition

Gropius Bau Berlin

Niederkirchnerstraße 7, 10963 Berlin, Germany

25 May - 5 August, 2018

Philippe Parreno's untitled solo exhibition at the Gropius Bau Berlin has yet to exist and will perhaps never exist as it is described here.  This in not to say that it is any less real.  To be sure, this show has many different modes of existence, which, as of now, are purely virtual, sites of possibility which may or may not become actual.  To date, the exhibition exists in various modes that have changed over time including one which can be experienced through VR headsets.  Yet at this time, nothing appears fixed, the future that the exhibition takes remains open, and we can only imagine what Parreno intends to do.

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More information about the exhibition

Rirkrit Tiravanija participates in Creative Time's Pledge of Allegiance project

A flag designed by artist Rirkrit Tiravanija was raised on the Main Building flagpole on Pratt’s Brooklyn Campus on April 4 as part of Pledges of Allegiance, a public art project organized by the New York-based nonprofit Creative Time. The project invites cultural institutions to participate in raising flags created by acclaimed contemporary artists to inspire community and conversation while supporting artists at the forefront of socially engaged art-making.

Pledges of Allegiance is a serialized commission of 16 flags, each created by an acclaimed artist. Each flag points to an issue the artist is passionate about, a cause they believe is worth fighting for, and speaks to how we might move forward collectively.

The flag-raising at Pratt was attended by President Frances Bronet, School of Art Dean Gerry Snyder, Fine Arts Chair Jane South, members of the Student Government Association, and a crowd of students, faculty, staff, and passersby who assembled outside Main Building at noon to view the flag as it was raised on the building’s flagpole.

Tiravanija's flag, Untitled 2017 (Fear Eats the Soul)(White Flag), 2017, comments on the toxic effect of fear on all of us—individuals and communities alike.

South spearheaded Pratt’s participation in the project with Creative Time starting last year, and the initiative has involved Pratt community members from a number of departments around the Institute. Students had the opportunity to vote on which flag to fly, and chose the flag by Tiravanija.

Other artists participating in Pledges of Allegiance include Tania Bruguera, Alex Da Corte, Jeremy Deller, LaToya Ruby Frazier, Ann Hamilton, Robert Longo, Josephine Meckseper, Marilyn Minter, Vik Muniz, Jayson Musson, Ahmet Ögüt, Yoko Ono, Trevor Paglen, Pedro Reyes, and Nari Ward.

Pledges of Allegiance officially launched in 2017 on Flag Day, June 14. Each month a new flag has been raised on a flagpole atop Creative Time’s headquarters in Manhattan and at partner sites nationwide. Tiravanija's flag will fly outside Pratt’s Main Building through April 25. The flag is also being raised simultaneously at 20 more locations across the United States.

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ProjectArt Annual Benefit at The Underground Museum

My Kids Could Do That: Famous Artists Put Their Childhood Drawings on view in LA

Openning Event: April 6th, 2018 at 7PM, on view through April 8th

1301PE artists, Petra Cortright, Diana Thater & Pae White are contributing works to this event.

How many times have you overheard—when standing in front of a contemporary work of art—a proud parent/disdainful viewer near you invoke the dismissive cliché: “my kid could do that?” Or maybe you’ve been guilty of thinking it yourself. We should all be so lucky to bear little geniuses that might grow up into the next Ed Ruscha, but sadly only a very small number ever reach that level. And those that do aren’t usually too quick to equate their career’s work with the output of a child.

So it’s unusual then, that a number of big-name contemporary U.S. artists—Ruscha, Jim Shaw, Lita Albuquerque, Catherine Opie, Diana Thater, Kenny Scharf, Alex Israel and Pae White among them—have decided to contribute their work to an exhibition named exactly that. But they’re not showing just any old work, they’re showing their old work—the art they made as children, lovingly preserved or perhaps rediscovered after languishing in boxes by their very own proud parents. Flying in the face of the idea that their geniuses are one in a million, these artists are putting their early scribbles on view in order to say: “Yes, your kid could do that.”

Opening April 6 at Los Angeles’ Underground Museum and on view for just three days, it’s part of a fundraising effort to raise support for ProjectArt, a nonprofit dedicated to making arts education available to children throughout the country by partnering with the public libraries for the use of space and hiring emerging artists as instructors. In spreading their mission, the organization recruited some of the most influential artists working today to talk about how art education got them to where they are today.

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Blouin Artinfo: Rirkrit Tiravanija, Ng Teng Fong Roof Garden Commission

National Gallery Singapore has collaborated with internationally renowned artist Rirkrit Tiravanija to display his largest bamboo maze installation.

Named “Untitled 2018 (the infinite dimensions of smallness),” the immersive installation, which stands at a towering four meters high, draws its inspiration from materials, craftwork and architecture from Asia. The maze references traditional hand-built bamboo scaffolding found across Asia, while the Japanese tea house evokes the rich culture of tea with its centuries-old ceremonies. Visitors are invited to navigate through the bamboo maze as they go in search of finding something special such as the wooden teahouse located at its center, and along the way, encounter and interact with each other. This site-specific installation consists of a large-scale bamboo maze with a Japanese tea house at its center. Drawing on regional materials, architecture and traditions, it embraces Tiravanija’s interest in cross-disciplinary and collaborative art practice. Within the space, visitors are invited to encounter each other, and participate in interactive programs including tea ceremonies by local and international tea masters.

This deceivingly simple concept continues Tiravanija’s artistic focus on participatory works that blur the line between art and its audiences, while leveraging his strength and inclination towards the gesture of hospitality. By devising and provoking human encounters in spaces that are embodied in architectural structures like the bamboo maze and teahouse, he encourages visitors to pause, make time and space to experience something new.

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For Show Details and Related Events

The installation is on view through October 28, 2018, at National Gallery Singapore, Ng Teng Fong Roof Garden Gallery, Singapore.

ARTNEWS: Petra Cortright Tapped for Rizhome's 2018 Seven on Seven Conference

The digital arts nonprofit Rhizome has revealed the list of participants for this year’s Seven on Seven conference, an annual gathering that pairs artists and technologists so that they can produce a project together. The conference’s tenth edition will be held at the New Museum in New York on May 19, 2018.

Zachary Kaplan, the executive director of Rhizome, said in a statement, “Over ten editions, [Seven on Seven] has done so much to make the argument that the fields of technology and art must learn from one another, in ways that acknowledge their points of overlap and their specificities. But at the same time, it’s an opportunity to think about the future. Critiques of technology’s effects have become increasingly mainstream; what sort of alternatives might be imagined as part of Seven on Seven over the next decade?”

Below are a list of the artist-technologist pairings at this year’s Seven on Seven.

• Petra Cortright, artist, and Carl Tashian, engineer and entrepreneur
• Sara Cwynar, artist, and Cierra Sherwin, director of Color Product Development, Glossier
• Sean Raspet, artist and Nonfood cofounder, and Francis Tseng, designer and developer
• Tabita Rezaire, artist, and Kenric McDowell, director, Google Artists and Machine Intelligence
• Avery Singer, artist, and Matt Liston, founding member and ambassador, Gnosis
• Mika Tajima, artist, and Yasmin Green, R&D Director, Jigsaw at Alphabet Inc.
• Dena Yago, artist, and Yalda Mousavinia, founder, Space Cooperative

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Philippe Parreno: In Tune with the World, Paris France

Philippe Parreno: In Tune with the World

Fondation Louis Vuitton

8 Avenue du Mahatma Gandhi

 75116 Paris, France

11 April - 27 August, 2018

Throughout the galleries of the Frank Gehry building, "In Tune with the World" (11th April - 27th August 2018) unveils a new selection of artists from the collection, of several different mediums, bringing together modern and contemporary works, most of which have never before been exhibited in these spaces.

More than a simple hanging of works, "In Tune with the World" is intended to be an exhibition based on a specific theme. This reflects today’s questions about man’s place in the universe and the bonds that tie him to his surrounding environment and living world, highlighting the interconnections between humans, animals, plants, and even inanimate objects.

Philippe Parreno opens and closes the sequence at the pool level with two videos: the first, The Writer (2007) - at the entrance to gallery 1 - appropriates one of the first robots created in the eighteenth century, whilst Anywhen (2017) - in Gallery 3 - films an octopus responding to its environment, accompanied by a soundtrack inspired by James Joyce's Finnegans Wake.

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San Francisco Chronicle: Philippe Parreno - Deftly Curated Images from singular RFK Funeral Train at SFMoMA

Deftly Curated Images from singular RFK Funeral Train at SFMoMA by Charles Desmarais

“The Train” launches from a noted series of documentary photographs made by Paul Fusco from the funeral train of Robert Kennedy, 50 years ago this June, as it passed along the corridor from New York to Washington, D.C. That keystone sub-exhibition is flanked by alternative interpretations of the same event.

In one direction in the galleries, a small but touching exhibition of amateur snapshots, collected by Dutch artist Rein Jelle Terpstra, presents the unvarnished reactions of bystanders. In the other, a sumptuous film by French contemporary artist Philippe Parreno re-creates the day as the kind of fiction that extends and enlivens fact.

Though none of the sub-exhibitions would be as good on their own as they are in tandem, Parreno’s film “June 8, 1968” (2009) is the strongest of the three legs. The artist rented a train and hired a troupe of actors to achieve it.

Beautifully recorded at high resolution (70mm), it is a precise re-enactment of the funeral train’s now-famous journey. Long shots of the various characters recall the Fusco originals, yet the rocking of the train, the wind in the figures’ hair or in the grasses around them, place them — situate us — somewhere different on the continuum between past and present, life and image.

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DAMN #67: Diana Thater & Brian Butler speak about LA as an Artist's City

It may happily wear the mantles of city of dreams and city of angels, but Los Angeles' reputation as a city of art has been a more difficult journey.  The hurrahs of Hollywood have sometimes played a leading or supporting role, but it's not the only show in town, and over the last fifty years or so it has embraced pop and conceptual art, and is a beacon for figurative painting.  So what do the city's artistic protagonists make of recent developments and how does Trump-time feel?

" Los Angeles has the best art schools in the country. I found myself in a small new MFA program at the Art Centre in Pasadena, and my teachers were brilliant and all actively involved in the community.  They were my introduction to LA and, because of them, I never left and I have taught for the last 25 years at the Art Centre.  Frankly, I would have thought that LA was much more of an art city when it had a closer-knit community of artists who had zero interest in becoming celebrities.  Now we have this huge influx of artists from everywhere, and they come here knowing nothing about the city or the history of its small, dedicated art community." 

- Diana Thater

"Artists based in Los Angeles have for more than half a century been changing the conversation of the canon.  Historically, Los Angeles artists had to show inEurope to gain a reputation, as New York (the gatekeeper) was not interested in art from the West Coast.  In recent years you see a shift in the arts across the board from creative to financial. The market (meaning the one reported and celebrated in the media) is now global in its aesthetics.  So how does that affect Los Angeles and its evolution"? 

- Brian Butler

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Fiona Connor Lecture, Los Angeles Public Library

Fiona Connor: Photographer's Eye: Placeholder for a Grand Central Market Archive

Los Angeles Public Library, Central Library, meeting room A

630 W. 5th Street
Los Angeles, CA 90071

Wednesday, April 18, 2018 at 12:15 p.m.

Fiona Connor set up a large format Toyo View camera in the middle of Grand Central Market, a bustling culinary bazaar in downtown Los Angeles whose rapid makeover in recent years has been the source of cheerleading as well as anger over the changing nature of the city’s urban core. Opened in the late 1800s, Grand Central was long seen as a celebration of the city’s melting-pot character. Immigrants from Michoacan served up carnitas near stands that hawked cheap bowls of Hong Kong-style wonton soup. It was a place for everybody, and anybody, or so goes the narrative of those opposed to its recent evolution. 

As city leaders have pushed for a downtown L.A. “renaissance,” with historic buildings transformed into stylish lofts and skid row’s homeless population pushed farther and farther to the margins, Grand Central has transformed, too. In just a few years, dozens of food stalls were pushed out as new ones serving up oysters and craft beer to the neighborhood’s growing class of young professionals moved in. 

Over the course of 12 months, Connor documented this change in a work titled "Placeholder for a Grand Central Market Archive." Once a month, she returned to the exact same spot at lunchtime and took a single photograph. The result is an edition of 12 sets of 8x10 prints that are a telling record of the market’s evolution. From one photo to the next, paint-cracked pillars change suddenly from black to white. A construction wall goes up. When it comes down, a brand new stall has been erected, an upscale bar opened by a pair of Hollywood restauranteurs that offers a collection of upscale wines as well as chicharones, fried pork rinds are a nod to the market’s not-so-distant past. 

Connor's prints will become part of the photo collection at the Los Angeles Public Library, joining other historical images of Grand Central Market for the public to use. The edition is designed so it can be seamlessly added to the collection, which is housed at Central Library downtown.

For her talk she will discuss this project and other examples where she has worked with existing archives.

Fiona Connor is a New Zealander born in 1981, currently living and practicing her art in Los Angeles. She received a degree in Fine Arts and History from the University of Auckland, and she earned her Masters in Fine Arts at California Institute of the Arts. Connor’s work uses strategies of repetition to produce objects that interrogate their own form by engaging different histories embedded within our built environment. For her, fabrication is a form of research. Her work was recognized in New Zealand when she was shortlisted in 2010 as one of four finalists for the bi-annual Walter's Prize for contemporary art. Her installations are held by the Auckland City Art Gallery, The Dowse Gallery, the Te Papa in Wellington, the Christchurch Art Gallery, and the Hammer Museum in Los Angeles. During the past eight years  since being resident in Los Angeles Connor has devoted her energies both locally and  across a global spread with exhibitions in New York, Barcelona, Basel, Istanbul, Sydney and Auckland. Connor's artistic career has displayed a consistent attraction to working in a collaborative way and fluidly between curating, facilitating and object making. An example being the Newspaper Reading Club founded in 2011, and the conversion of her own Los Angeles apartment over 12 months into a gallery titled Laurel Doody in 2016.

Sponsored by Photo Friends. Presented by the Los Angeles Public Library Photo Collection.

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Jan Albers: Fox/Jensen, Sydney, Australia

Jan Albers

Fox/Jensen 

CNR Hampden Street & Cecil Lane
23 A Roylston Street

Paddington
NSW 2021
Australia

Opens Thursday, 5 April, 6 PM

Jan Albers studied painting at the famous Kunstakademie Dusseldorf. Early on he sensed that working within the established protocols of paint and canvas felt too restraining.  He has gone on to produce a major body of work that shuns the flatness of the picture plane replacing it with a divergent mix of high and low art materials that are bolshy and strident, elegant and considered, yet seldom demure.

As much as Albers wished as a student to eschew convention, his work touches lightly on various 20th century moments. One feels echoes of Judd and Chamberlain in their robust materiality and determined “object” status - the visceral impact of Fontana’s puncturing of the picture plane, in his “chain-saw” lacerations. But there are also reverberations in form and composition that recall his namesake Anni Albers’ refined geometries, or Frank Stella’s shaped canvases.

As cognizant as he clearly is of history, Albers feels determined to extend his own artistic vocabulary so that it embraces a range of connections to architecture, even the environment, complete with its blend of allure and toxicity.

As Stephen Berg has described…“the entire picture is actually a permanent construction site alternating between destruction and repair.” This altercation between making and unmaking, harmony and disharmony runs through all of Albers work. One gets the sense that he views most material as potentially “uncooperative” and unruly – something to be tamed or at the very least bridled.

In all of his works you are compelled to look into them rather than at them from a respectful distance – the enticement and persuasion of the poisonous perhaps. Their complex topography, their nooks and crannies, their structural depth and intricacy suggest an entirely different reading of space that isn’t pictorial nor is it truly sculptural. Whatever the case, Albers is certainly up-dating the bas-relief and its traditional viewpoint.

The gallery is thrilled to present a range of major works by Jan Albers, including the large and magnificent bronze, mightyhighOnlight and stunning new ceramic works alongside further examples of his diverse and innovative practice.
It is also particularly pleasing, that during this years Art Basel Hong Kong, four large scale works were placed in major collections in Taipei and in a private museum collection in Shanghai. The response to his work at Art Basel Hong Kong has been overwhelming. We are delighted to say that Jan will also be present for the opening in Sydney.

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The Aldrich Contemporary Art Museum Invites You to Celebrate Jessica Stockholder

The Aldrich Contemporary Art Museum

258 Main Street

Ridgefield, CT 06877

Honoring Jessica Stockholder

Saturday, April 21, 2018

Jessica Stockholder’s career in the visual arts now spans more than thirty years, including over seventy solo exhibitions worldwide and representation in numerous major public and private collections. Her work, which has had a significant impact on contemporary sculptural practice, is categorized by a deep love of color and a focused engagement with the intersection of pictorial space and the physicality of the material world. Stockholder first exhibited at The Aldrich in 1993, and in 2011 she presented Hollow Places Court in Ash-Tree Wood, a major solo exhibition based on the wood from a 130-year-old ash tree that had been removed from the Museum’s Sculpture Garden. Stockholder is also known for her writing on art and her commitment to teaching, which includes her appointment in 2012 as Chair of the Department of Visual Art at the University of Chicago.

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Paul Winstanley Book Release

Paul Winstanley: 59 Paintings

In which the Artist Considers the Process of Thinking about and Making Work

British artist Paul Winstanley (born 1954) has established an international reputation for his atmospheric photorealistic paintings of nondescript places and anonymous figures. Here he takes 59 of his own works as a starting point to discuss what it means to make paintings.

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Kerry Tribe: The Un-Private Collection: Lynne Tillman & Kerry Tribe on Joseph Beuys

The Un-Private Collection

Thursday, May 17, 2018 | 7:30 p.m.

Oculus Hall at The Broad

221 S. Grand Ave

Los Angeles, CA 90012

Organized by The Broad and X-TRA, this special three-part iteration of The Un-Private Collection addresses the legacy of German Fluxus artist Joseph Beuys in relation to contemporary art practice. Each program highlights a theme central to Beuys and invites contemporary artists to discuss their work and ideas through that lens.

New York writer Lynne Tillman and Los Angeles visual artist Kerry Tribe will speak on lies and myth. Joseph Beuys is a controversial figure in art history, in large part because of his constructed biography: Beuys often recanted his dramatic origin story, a swirl of truth and lies, contributing to his mythic stature. In their work, Tillman and Tribe both investigate the construction of narrative and knowledge. This conversation will explore the ways that Beuys, Tillman and Tribe each raise questions about how identity shapes public reception and perception. Moderated by Shana Lutker, a Los Angeles artist and co-organizer of this series for X-TRA.

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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.

Blouin Artinfo Article

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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