Diana Thater and Jack Goldstein: Pivotal: Highlights from the Collection

Pivotal: Highlights from the Collection

Orange County Museum of Art

850 San Clemente Dr
Newport Beach, CA 92660

On view through June 17th

OCMA has always championed artistic experimentation and innovation through a commitment to showing and collecting the work of dynamic and groundbreaking emerging artists. This installation will reveal how impactful OCMA has been in supporting the careers of some of the most influential artists from this region, often at pivotal moments in their careers.

This exhibition includes works by Diana Thater an Jack Goldstein.

More information

Jack Goldstein, Untitled, 1984, acrylic on canvas, OCMA Collection

Pae White: Small World at Galeria Elvira Gonzalez

Pae White

Small World

Galeria Elvira Gonzalez

Hermanos Alvarez Quintero, 1 28004 Madrid

6 June - 15 July, 2018

Galería Elvira González is pleased to announce Small World, the first solo exhibition of Pae White in Spain opening on June 6 at 7:00 pm.

The exhibition features a large installation made up of over 700 pop corn shaped pieces hanging from the ceiling on nylon strings, six panels on ceramic paper, 3 large-scale tapestries made in Belgium and various works that are hand-stitched on paper. 

Pae White is a multidisciplinary artist whose work embraces a variety of supports and materials, from porcelain, fluorescent lights and neon, paper, tapestries to large installations setting out in a format that can take over the space and using it as another element within the work. 

Her innate curiosity for design, architecture and handcrafts have led her to a constant research of production materials and shapes focused on the permanence of daily things. Pae White  links art with leisure, an aspect that is always present in her work. One of her main aims is to play with the viewer’s expectations who, coming up against the apparent simplicity of a daily object, is immersed in a complex plot of superimposed familiar elements, which forces a deeper reflection on the work. 

She is very much interested in the interpretation of the object, and this is also reflected in her production methods. When her work is produced by other manufacturers she does not review the final result until the installation of the work. “I am interested in the interpretation. Maybe something made in Lithuania does not end up being exactly the same as how I had imagined it. The piece is transformed into a kind of file or container of the work’s expression”. 

More information

Petra Cortright: Pale Coil Cold Angel at Nahmad Projects

Petra Cortright

Pale Coil Cold Angel

Nahmad Projects

2 Cork Street, London W1S 3LB

8 June - 20 July, 2018

Nahmad Projects will present a solo exhibition by Petra Cortright, opening on 8th June 2018. The exhibition will feature works in 2D, 3D, and video. The artist will present stone sculptures for the first time in the form of three works carved from white Carrara marble, and a six-metre wide quadriptych will be the largest painting by the artist to date. A video installation is the latest in her “painting video” series. Cortright is a twenty-first century painter using contemporary tools. The Los Angeles-based artist is a celebrated member of a diffuse group known as “post internet” artists, who explore the effect of digital culture on the development of fine art. After a series of critically acclaimed webcam performances distributed on YouTube, the artist consolidated her practice by using Adobe Photoshop to make paintings using brushes and images mined from internet search engines. Her use of platforms like Pinterest subverts traditionally gender normative content such as flowers and interiors, freeing this imagery into expansive digital landscapes. The title of the show is also drawn from search terms used online. A final painting is a captured still from a master file that could be modified endlessly, so while her two-dimensional objects are static, they suggest dynamic change in reference to their source.

“I’ve tried regular painting. I hated it,” Cortright said in a 2015 interview with ARTnews. “It’s really slow and I thought it was the dumbest thing in the world. You can’t copy and paste or undo.” Adobe software can mimic physical painting: virtual brushes can carry multiple colours at once, their hairs can be sized and shaped, and even the paint can vary its wetness. Each work in the show expands our definition of painting: the video animates the artist’s process of building a master file with her invisible digital hand; the sculptures are 2D digital brushstrokes extruded into 3D shapes, which the artist transfers into marble from their virtual existence.

Petra Cortright was born in Santa Barbara in 1986 and lives and works in Los Angeles. She studied at Parsons School for Design in New York City, and the California College of the Arts in San Francisco. Selected solo exhibitions include: +”venus de milo” +turtles +sounds, City Gallery, Wellington (2017); RUNNING NEO-GEO GAMES UNDER MAME, Tristian Koenig, Melbourne (2017); quack doctor violet “saltwater fish”, 1301PE, Los Angeles (2017); DIE ROSE, Société, Berlin (2016); ORANGE BLOSSOM PRINCESS FUCKING BUTTERCUP, Carl Kostyal, London (2016); Zero-Day Darling, Ever Gold [Projects], San Francisco (2016).

More information

BMORE ART: Ann Veronica Janssens's "Fog Star" at the Baltimore Museum

Ann Veronica Janssens’ Fog Star, which opened to the public last week, is a testimony to the potential appeal of a simple, interesting concept executed precisely and with restraint. In the BMA’s often-overlooked Spring House (a small, temple-like structure designed two centuries ago by Benjamin Henry Latrobe), Janssens has introduced a haze machine and mounted seven bright lights in a pattern on a wall at the far end. In a thin fog, seven beams of light thus coalesce into a star – or break down into a cacophony of swirling beams, depending on where you stand. The result at once delightful and subtle: a piece of eye candy that will please the selfie crowd, but also a coy meditation on space, light, and history.

Janssen, who was born in England in 1956 and is now based in Belgium, has worked with light for years, and has frequently spoken of her desire to prompt viewers to experience familiar surroundings in new ways. Fog Star combines these interests. From a distance, the piece is all flirtation and unresolved promise; partial glimpses of the light bulbs and the pinkish red interior seem calculated to attract attention, without revealing too much. Come closer, though, and the piece rewards you. As you approach the threshold of the spring house’s central door, the seven bulbs are suddenly all visible, and snap into a crisply distinct configuration: an ethereal heptagram, suspended in a mist.

View full article

by Kerr Houston

Jack and the Jack Paintings: Jack Goldstein and Ron Terada at Art Gallery of Ontario

Jack Goldstein and Ron Terada

Jack and the Jack Paintings: Jack Goldstein and Ron Terada

Art Gallery of Ontario

317 Dundas Street West, Toronto, Ontario M5T IG4

A new exhibition at the AGO pairs contemporary Canadian artists Ron Terada and Jack Goldstein, whose own artistic struggle has been a source of inspiration for Terada.

Based in California, Jack Goldstein was a performance and conceptual artist who came of age in the 1960s and ‘70s; he was part of The Pictures Generation, an influential group known for their use of mass media imagery. He studied at the famed California Institute of the Arts, or CalArts, and became a painter during the art boom of the early 1980s. After some success, however, he became increasingly marginalized and slowly disappeared from the art world. Although a revival of interest in his work began in 2000, Goldstein took his own life in 2003.

Vancouver-based artist Ron Terada has worked in sculpture, photography, video, sound and graphic design; the Jack series marks his return to painting after a decade of exploring these other media. Terada was inspired by Goldstein’s powerful 2003 tell-all memoir, Jack Goldstein and the CalArts Mafia. Co-written with a colleague and published just before his death, Goldstein’s book speaks openly of the social dynamics at play in the art world at the time. Since 2011, Terada has meticulously created a series of Jack paintings corresponding closely to various chapters of the book, calling into question the tension between text and imagery, the dominance of painting in the art world, and the boundaries of authorial ownership.

The exhibition features 14 of Terada’s large-scale text-based paintings, shown for the first time. Terada’s final chapter, “New York Dealers and Collectors”, is on view with Goldstein’s sublime photorealistic image of a lightning storm. When compared, they address the different ways we read or respond to painting. 

More information

Project Angel Food: Angel Art Auction

Saturday, June 23, 2018 at Neuehouse, Hollywood

6121 Sunset Blvd. Los Angeles, CA 90028

1301PE is pleased to announce artists Kirsten Everberg and Rirkrit Tiravanija will both be contributing works to Angel Art, a contemporary art auction benefitting Project Angel Food.

Project Angel Food's mission is to feed and nourish the sick as they battle critical illness. Volunteers and staff cook and deliver nutritious meals, free of charge, to homes throughout Los Angeles County to alleviate hunger, prevent malnutrition and return their clients to health.

More information

Paddle 8 Auction 

Philippe Parreno at Martin Gropius Bau, Berlin

Philippe Parreno

Gropius Bau Berlin

Niederkirchnerstraße 7, 10963 Berlin, Germany

25 May - 5 August, 2018

Berliner Festspiele / Immersion presents internationally renowned artist Philippe Parreno at Gropius Bau Berlin, for his first solo exhibition at a major cultural institution in Germany.

Philippe Parreno's solo exhibition at the Gropius Bau has various different modes of existence that will change over time.

Some works reappear in in a mutated form.  Both film, "Anywhen" (2017) and "The Crowd" (2018) have been entirely re-edited.  The flower wallpaper, previously seen as a background element on the set of Parreno's film "Marilyn" (2012), comes to the fore as an individual work covering a gallery wall.  Hundreds of drawings of fireflies flash on a large LED screen and then fade away, their lifespan governed by algorithms.  This is an automaton made out of many others.  

Disembodied, free-floating sensations and intensities will directly affect the bodies of the works themselves and those visiting the show.  In one room, three different wind vortexes guide the circulation of balloon fish on an elaborate path.  Live sounds, emanating from somewhere in or beyond the city leak inside the museum walls and spread from one room to another.  

You will notice some synchronicities. Sounds re-surface in the reflecting pool of the atrium as they are transduced into visual patterns of water lilies. Light changes in the galleries as automatic blinds rise and fall, following a rhythm governed by an unknown authority.  Another area is bathed in an eerie orange glow that evokes the fictional future of our fading sun.  

As we move through the exhibit, we begin to feel as though we have entered a dimension not organized according to our normal spatial coordinates.  This is an inner space, a purely mental landscape, a site animated by fuzzy logic.  

In an isolated booth there is a bioreactor consisting of a beaker in which microorganisms multiply, mutate, and adapt to their environment.  Connected to computers that orchestrate the events in the exhibition, these yeast cultures develop a memory - a collective intelligence - that learns the changing rhythms of the show and evolves to anticipate future variations.  As the micro-organisms continuously interact with each other, and with the contingent events taking place in the museum, their neural circuitry sets a complex non-deterministic, non-linear mise-en-scene in motion through a series of non-periodic cycles. 

Immersion | Berliner Festspiele 2018

In the programme Immersion, the Berliner Festspiele present artistic works which often occupy the grey zone between performance and exhibition.  The programme Immersion was made possible by an initiative of the German Federal Parliament and thanks to the support of the Federal Goverenment Commissioner for Culture and the Media.

Kerry Tribe: Exquisite Corpse on the High Line

Kerry Tribe

Exquisite Corpse

On the High Line Channel 14, at 14th Street

May 24 - July 18, 2018

Tribe presents Exquisite Corpse (2016), a 51-minute film that follow the Los Angeles River for its 51-mile length from the San Fernando Valley to the Pacific Ocean.  The film will play daily, from dusk to park close.

July 17, 2018

Kerry Tribe will give an artist's talk with associate curator, Melanie Kress, exploring the history, production, and presentation of Tribe's video.

View of the High Line.

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.

More information

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.

More Information

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.

More Information

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.

More information

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.

More information

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.

More information

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.