JOURNAL SENTINEL: Sculpture Milwaukee rounds out artist list for 2018 Installation

Ana Prvacki's Stealing Shadows, Michelangelo, 2007 will be on display at Sculpture Milwaukee, a free outdoor urban sculpture experience in downtown Milwaukee, on exhibit June 1 - October 21, 2018.  

“Sculpture Milwaukee brings a new level of energy and excitement to the streets of downtown Milwaukee,” said Beth Weirick, CEO of Milwaukee Downtown, BID #21. “Once again, we’re delighted to activate our main street with works that will captivate downtown residents, workers, students and out-of-town guests. We’re excited to host these works and put downtown Milwaukee on an international art platform.”

The newly released works include: Ghada Amer’s Blue Bra Girls, 2012; Richard Deacons’s Big Time, 2016; and Ana Prvački’s Stealing Shadows, Michelangelo, 2007. John Henry’s Zach’s Tower, 2007; Sol LeWitt’s Tower (Gubbio), 1996; and Tony Tasset’s Mood Sculpture, 2017 will be carried over from Sculpture Milwaukee 2017.

These works will join Magdalena Abakanowicz’s The Group of Five, 2014; Sanford Biggers’ BAM (Seated Warrior), 2017; Yoan Capote’s Nostalgia, 2013; Tom Friedman’s Hazmat Love, 2017; Liz Glynn’s Untitled (Burgher with extended arm), 2014; Gary Hume’s Bud (bronze), 2016; Jessica Jackson Hutchins’ Reason to Be, 2017; Mel Kendrick’s Marker #2, 2009; Shana McCaw and Brent Budsberg’s Skew, 2018;  Kiki Smith’s Seer (Alice II), 2005; Bosco Sodi’s Untitled, 2017; Hank Willis Thomas’ Liberty, 2015; Bernar Venet’s 97.5° Arc x 9, 2007; and Erwin Wurm’s Half Big Suit, 2016, which were previously announced last month.

Led by Steve Marcus, chairman of the board of The Marcus Corporation, Sculpture Milwaukee is an annual gift to the community, bringing world-renowned works to an accessible and approachable environment for all to enjoy. From art connoisseurs and collectors, to school children and office workers, the installation will spark imaginations and activate Wisconsin Avenue. Sculpture Milwaukee 2018 is curated by Russell Bowman, an art advisor based in Chicago and former director of the Milwaukee Art Museum, and Marilu Knode, Sculpture Milwaukee’s project director and former director of Laumeier Sculpture Park in St. Louis.

Ana Prvački finds our daily world an unparalleled stage for artistic interventions. She resists our obsession with material things and applies a playful touch to her critical thinking on how we allow objects to dominate our lives. Prvački has focused on different social norms regarding personal space; on the tangible influence of ephemeral music; and has invented all kinds of contraptions that celebrate the human capacity for invention of useless things. In Stealing Shadows, Michelangelo, 2007, Prvački draws inspiration from Michelangelo’s world-renowned monument of David – the shepherd boy who defeats Goliath in the Old Testament by using a simple sling and rock. While Michelangelo elevates a commoner to the status of victor, David’s face is also wrinkled with concern. By presenting David’s shadow on the street, Prvački brings to us a monument of comfort and faith in the way we face the challenges of our own daily lives. Prvački's provocative appropriation also pokes at the long shadow this monument plays in establishing standards for public art. Stealing Shadows, Michelangelo, 2007 is on loan courtesy of the artist and 1031PE, Los Angeles.

HYPERALLERGIC: Judy Ledgerwood on Finding Pattern and Decoration in Everyday Life

Judy Ledgerwood discusses her exhibition Far From the Tree in the context of the 40th anniversary of the Pattern and Decoration movement.

CHICAGO – It has been forty years since artists Valerie Jaudon and Joyce Kozloff published Art Hysterical Notions of Progress and Culture. They made clear how language had been used to maintain power structures and create arbitrary aesthetic hierarchies in the art world, and their statement became the manifesto of the Pattern and Decoration movement. To commemorate this, I interviewed Chicago-based painter Judy Ledgerwood in her office on the bucolic campus of Northwestern University, where she has taught for 22 years. Ledgerwood has been working with issues like pattern, domesticity, craft, and folk tradition in her studio for years. Raised in a family of quilters, she grew up immersed in an awareness of the deep layers of meaning intrinsic to that and other heritage art forms. Ledgerwood’s recently-opened solo show, Far From the Tree, at Rhona Hoffman Gallery in Chicago, mobilizes pattern as both form and subject matter.

To start our conversation, I asked Ledgerwood to flip through a copy of Art Hysterical Notions of Progress and Culture, and I turned on the recorder.

Click here to read the full interview

by Phillip Barcio

THE SEEN: Philippe Parreno, Two Automatons For One Duet // Art Institute of Chicago

Floating fish balloons are a mainstay in Paris-based artist Philippe Parreno’s current work—unable to be bound to any medium, the artist explores the object in the relationship to the space of an exhibition. Utilizing scientific technology in groundbreaking ways, Parreno most recently gave performative authority to a yeast colony in his 2017 show, La levadura y el anfi trión (The Yeast and The Host) at Museo Jumex in Mexico City. Last year marked three international solo exhibitions for the artist—Natalie Hegert sits down with Parreno to talk about his two recent exhibitions in 2018, at Martin-Gropius-Bau in Berlin and the Art Institute of Chicago, in the context of the inescapable impermanence of the ‘permanent’ object.

Click here to download the complete interview by Natalie Hegert

Philippe Parreno was born in 1964 in Oran, Algeria. He graduated from École des Beaux-Arts de Grenoble in 1988 and in 1989 from Institut des Hautes Études en Arts Plastiques at the Palais de Tokyo, Paris. In 2016, Parreno presented the Hyundai Commission in the Turbine Hall at the Tate Modern in London. He was the first artist to take over the entire 237,000 square foot space at the Palais de Tokyo in Paris with his exhibition Anywhere, Anywhere Out of the World which opened in October 2013. Major exhibitions of Parreno’s work include: Museo Jumex, Mexico City (2017); Rockbund Art Museum, Shanghai (2017); Fundaciao de Serralves, Porto (2017); HangarBicocca, Milan (2015), Park Avenue Armory, New York (2015), CAC Malaga (2014), The Garage Center for Contemporary Culture 0 , Moscow (2013); Barbican Art Gallery, London (2013); Fondation Beyeler (2012); Philadelphia Museum of Art (2012); The Serpentine Gallery, London (2010); Witte de With (2010); Irish Museum of Modern Art, Dublin (2009); Centre Pompidou, Paris (2009); Kunsthalle Zurich (2009); CCA Kitakyoshu, Japan (2006); Kunsthalle Zürich (2006); San Francisco Museum of Modern Art (2003); Musée D’Art Moderne de le Ville de Paris (2002), and Moderna Museet, Stockholm (2001). Most recently, Parreno’s work was on view at the Art Institute of Chicago, where his exhibition Two Automatons for One Duet was on view from February 3–April 15, 2018. He lives and works in Paris.

Rirkrit Tiravanija: Do We Dream Under the Same Sky at the Parc des Ateliers, Arles

Rirkrit Tiravanija with Frankfurt based architects Nikolaus Hirsch & Michel Muller

DO WE DREAM UNDER THE SAME SKY

Luma Arles, Parc des Ateliers, 33 Avenue Victor Hugo, 13200 Arles, France

(The Forges Courtyard)

14 May - 23 September, 2018 Open 11 AM - 7 PM

Luma is pleased to announce the commission of a new iteration of the site specific large scale installation entitled DO WE DREAM UNDER THE SAME SKY by conceptual artist Rirkrit Tiravanija and Frankfurt based architects Nikolaus Hirsch and Michel Muller on view this spring and summer at the Parc des Ateliers, Arles.  The project was previously presented under similar forms at the first Aros Triennial in Aarhus (Denmark) in 2017 and Art Basel in Basel (Switzerland) in 2015.

The installation conceived as an outdoor shelter made of modular bamboo and steel is an extension of the project The Land, a model of sustainable development initiated in 1998 by Tiravanija and Kamin Lertchaiprasert near Chiang Mai, Thailand.

The work in Arles will be comprised of an open-air kitchen, an herbal garden and a communal dining area where visitors can eat, drink, and relax in a convivial atmosphere, while engaging in discussions and investigations about practices of sustainability, the geopolitics of food, and building technologies in the era of the Anthropocene.

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Pre-order Jessica Stockholder's Revised and Expanded Monograph Edition, Phaidon

Phaidon is re-releasing Jessica Stockholder's monograph, as a revised and expanded edition.  This title will begin to ship 11 June, 2018. Pre-order here.

Jessica Stockholder has long broken down the boundaries between painting, sculpture, and architecture to explore the body in social and cultural space - using found objects intertwined with profusions of vivid colours. This revised, updated edition spotlights the extraordinary evolution of her career, and examines the pivotal role she has played in shaping some of the most fundamental ideas around which contemporary sculpture and painting revolve today.

Contributions have been made by the following authors: Germano Celant, Lynne Cooke, Barry Schwabsky, Jessica Stockholder, and Lynne Tillman.

Germano Celant is an internationally acclaimed author and curator acknowledged for his theories on Arte Povera.

Lynne Cook is the Senior Curator, Special Projects in Modern Art, at the National Gallery of Art in Washington DC.

Barry Schwabsky writes regularly for Artforum. He is currently Visiting Lecturer at Goldsmiths' College in London.

Jessica Stockholder is an artist based in Chicago where she is Distinguished Service Professor, and Chair of the Visual Department at the University of Chicago.

Lynne Tillman is a novelist, short story writer, and cultural critic.

Jessica Stockholder: FRONT International Cleveland Triennial for Contemporary Art

Jessica Stockholder

Great Lakes Research Initiative, FRONT International Cleveland Triennial for Contemporary Art

Cleveland Institute of Art

Reinberger Gallery

11610 Euclid Ave, Cleveland, OH 44106

14 July - 7 October, 2018

CLEVELAND, Ohio (Monday, May 14, 2018) – Twenty-one artists from cities surrounding the Great Lakes will have works on view in The Great Lakes Research, one of the many events that comprise FRONT International: Cleveland Triennial for Contemporary Art.

The triennial is a summer-long exhibition of contemporary art from around the world taking place July 14 through September 30, 2018. The Great Lakes Research will continue to be on view through October 7, 2018 at the Cleveland Institute of Art’s Reinberger Gallery.

The Great Lakes Research exhibition follows a yearlong tour of artist studios in the region by FRONT Artistic Director Michelle Grabner. The exhibition considers a local geographic home within the context of the international exhibition, reclaiming regionalism as a vital means of identifying and prioritizing cultural centers.

The Great Lakes Research celebrates the curatorial practice of the studio visit, which reinforces the importance of local cultural fieldwork. In the process of selection, Grabner visited numerous studios to investigate and inform a group of works by artists who shape local and regional cultural patterns. Many of them have been pivotal as teachers and mentors informing the practices of young artists. They advance alternative geographic and theoretical positions and recognize regional discourses as legitimate while nurturing creative practices that work within a global framework.

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Ann Veronica Janssens: Fog Star at the Baltimore Museum of Art

Ann Veronica Janssens: Fog Star

30 May - 31 October, 2018

Baltimore Museum of Art

10 Art Museum Drive, Baltimore, MD 21218

Ann Veronica Janssens’s installation transforms the interior of the Spring House on the Museum’s west lawn, drawing visitors into the neoclassical building with a hazy glow of brilliantly hued light.

Once inside, an artificial haze obscures all navigational reference points. On the far wall, beams of light form a seven-pointed star, which morphs between palpable geometry and amorphous atmosphere as visitors move about the space.

Fog is a substance of abiding fascination for Janssens. Her Fog Star series explores the capacity of fog to give sculptural form to light. Focused on fleeting and intimate experiences of the world, the artist draws viewers’ attention to our own processes of perception within a surrounding environment.

Janssens (b. 1956, England) lives and works in Brussels. For more than three decades, she has used light, fog, saturated color, and reflective surfaces to compose environments that dazzle and disorient viewers into experiences of active perceptual engagement. Janssens’s work has been the subject of numerous solo exhibitions across Europe. Together with the artist Michel François, she represented Belgium at the 1999 Venice Biennale. Her first solo presentation at a museum in the United States took place in 2016 at the Nasher Sculpture Center in Dallas.

This exhibition is curated by Assistant Curator of Contemporary Art Cecilia Wichmann.

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Kerry Tribe in conversation with Lynne Tillman at Oculus Hall, The Broad

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

Thursday, May 17th, 2018  |  7:30 PM

Oculus Hall at The Broad

221 S. Grand Ave, Los Angeles, CA 90012

$15

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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Judy Ledgerwood: Chromatic Patterns for the Art Institute of Chicago

Judy Ledgerwood

Chromatic Patterns for the Art Institute of Chicago

10 May - 30 September, 2018

The Art Institute of Chicago

Bluhm Family Terrace

159 East Monroe Street, Chicago, IL 

This spring Ledgerwood’s work occupies the Art Institute’s Bluhm Family Terrace, covering the vertical surfaces in a pink vinyl painted with her signature quatrefoil pattern in gold enamel paint. Central to the installation is the artist’s sustained interest in the relationship between pictorial space and the physical space that contains the work: in this case, the painting depends on the architecture for its structure while also directly challenging it. The pink background, installed in long, horizontal washes of color, gently sags in the center, appearing as if it were a textile pinned at the upper corners. These pink curves filled with floral motifs rebel against the terrace’s strict, vertical architectural elements, while the gold paint—reflective, drippy, and distinctly material—activates the otherwise neutral modernist space.

Chromatic Patterns for the Art Institute of Chicago reaches beyond painting to alter the experience of the space. Indeed the experience itself is heavily mediated by the specific color that defines the space, informally referred to as “drunk tank pink,” which has a proven calming effect on those exposed to it. The profound physical, mental, and emotional effects of color are essential both to this particular installation and to Ledgerwood’s entire body of work.

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Fiona Connor: Mackey Garage Top, Los Angeles

Fiona Connor, Closed Down Clubs

Mackey Garage Top

1137 South Cochran Ave

Los Angeles, CA 90019

Opening Reception: Friday, May 11, 2018 7-9 PM

Friday 11 May - 12 August 2018

Closed Down Clubs is a sculptural presentation of a series of freestanding doors, produced by the artist to match exactly those of a particular nightclub or small community establishment right at the moment when it ceased to exist. When a place closed, Connor would document the doors in detail and she has worked with a range of fabrication techniques in their re-creation. The artist frames each of these doors as a document for a lost space, entry into a place that was.

These physical pieces of the clubs acted as signage announcing their respective identities: Connor’s sculptures capture their details as a piece of the past, and the artist even reproduced ephemera from the events inside (such as club flyers) and eviction notices from city authorities. Most striking are the artist’s inclusion of the direct statements clubs would post on the doors advising their communities of their demise–Connor recorded and reproduced these as well.

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SUPERFLEX, One Two Three Swing! announced as opening exhibition of new Copenhagen Contemporary

SUPERFLEX, One Two Three Swing!

28 June - 30 December 2018

Copenhagen Contemporary

Refshalevej 173A
1432 Copenhagen K

With its collective swings, One Two Three Swing! points to the potential and energy inherent in playing and to what people can achieve collectively. Copenhagen Contemporary is proud to present this aesthetic and conceptual total installation in a new format created especially for CC on Refshaleøen. The installation was originally commissioned by Hyundai for TATE Modern.

One Two Three Swing! is a large-scale public space installation by SUPERFLEX, which directly confronts the apparent state of apathy of our society with the extraordinary potential of collectivity. The experience of hypnotic apathy is induced by a large pendulum floating over a large and comfortable carpet, which visitors can sink into while letting the world rotate at its own pace. Alternatively, the installation playfully invites visitors to combat the perpetuation of this social apathy and try to swing things around. A collectively-powered orange line twists, turns and stretches through the entire room and beyond while connecting three person swings. The liberating and playful act of swinging becomes possible only through participation and collaboration. A phrase on the base of the swings cautionary advices: “by using this three person swing, the collective power produced will set the orange line in motion and potentially change the trajectory of the planet.” The orange line emerges in each new location of the installation as the suggestion of a new piece of a global mechanism of social participation. Weaving between, within and beyond institutions and public spaces around the world, One Two Three Swing! explores the revolutionary potential of joining together collectively, even through the most innocent and quotidian actions. 

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.

More about Creative Time

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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