“Matthew Barney: RIVER OF FUNDAMENT is Barney’s first major solo museum exhibition in Los Angeles. River of Fundament (2014) is one of Barney’s most challenging and ambitious projects to date, and his largest filmic undertaking since the renowned, five-part CREMASTER film cycle (1994-2002). The film, written by Barney in collaboration with composer Jonathan Bepler, tells a story of regeneration and rebirth inspired by Ancient Evenings (1983), Norman Mailer’s sprawling, provocative novel set in ancient Egypt. The presentation at MOCA comprises the epic length, operatic film and approximately 85 works inspired by or made in conjunction with the film, including large-scale sculptures weighing up to 25 tons, drawings, and storyboards. The exhibition also includes Barney’s Water Castings, a new group of sculptures on view for the first time. Overall, the works in the exhibition intertwine history and mythology with the contemplation of fundamental human drives—such as sex, violence, and power—that have continuously propelled civilizations.

Matthew Barney: RIVER OF FUNDAMENT is organized by Haus der Kunst, Munich in collaboration with the Museum of Old and New Art (MONA), Tasmania and curated by Okwui Enwezor. The Los Angeles presentation is coordinated by MOCA Assistant Curator Lanka Tattersall. The exhibition was realized by MOCA in collaboration with Laurenz Foundation, Schaulager, Basel.

For more information please visit moca.org

For more information about the film, visit: riveroffundament.net.

River of Fundament will screen regularly throughout the duration of the exhibition.

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Tom Blachford

Melbourne, Australia based interiors/architecture/travel photographer.

The photographer had the brilliant idea to connect the nostalgic inspiring architecture of Los Angeles’s suburbs with the nausea inducing glow of the moon in creating a series of shots that work as well together as toasty bread works with butter.

You will find Tom Blachford prefers to be quiet about his biography and that his website features not a lot of information about his profession or projects. Still, his website is worth a look as there are other images that mirror the style used in this project.

follow up tomblachford.com for more

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September 12 - October 25, 2015
Canada Gallery, New York

A Fall of Corners

“Ms Golden is a Michigan native. She was schooled at the Minneapolis College of Art and Columbia University.

Samara Golden’s objects roost in ways that sculpture shouldn’t. Built up and carved from 4×8 sheets of silver insulation board, then petrified with a slathering of epoxy resin, these tough flyweight chunks of handmade simulacra are her core constructions. Hung on an armature of bird bones, things fit where they need to. Suspended from hardly disguised strings and wires, stuff gets pinned up and down and over. Her sculpture can encrust itself to any axis. It is free to float.

Ms. Golden is a busy, nearly maniacal orchestrator of space and stuff. Her big silvery worlds are engineered, usually from the ceiling down. In A Fall of Corners, there is a renewed disconnect from gravity, the room is upended, sideways, and re-angled by a plushly carpeted catwalk. The gallery space gets spun like a wheel and falls apart into a kaleidoscope of views and points of view, folding space into sharply rendered scenes that spread out across each wall.  (In this case a country restaurant from the 1980’s, a wedding reception?, a hotel lobby and an apartment/bachelor pad equipped with exercise bike). Each of these set pieces is doubled through a sheet of mirror that spans the entire floor of the gallery. The effect is a kind of vertigo that can’t be measured with a stick.

As immersive as a cave and as personal as an underwear drawer, Golden’s handmade world seems to sample a combination of banal architecture and personal memory. Architecture as the envelope for our private lives is what Ms. Golden’s creations lock into. Flying over these places is a kind of magic that’s reserved for dreams and crane shots. Golden is in the business of making new realities come true, these are not in camera tricks or CGI, this all exists in real blood time.  Whole scenes cascade upon the viewer in a monstrous group hallucination leaving one asking Where am I? Are you seeing this? Am I having a migraine or did someone slip something in my drink?

From motion sickness to deja vu, Golden builds an art that disconnects eyes from mind and body. Perspectives are forced on the viewer like a collapsing building. I am reminded of Conical Intersect or Circus, those late Matta Clark works that shred perspectives on what used to be familiar, where the best photos defy any clear sense of orientation, only a ghost of place is left intact. With Golden there is no wrecking ball, the cuts are domesticated. Cups and saucers remain undisturbed, not one chair gets overturned. Perhaps in the end she is closer to some sort of space aged Kienholz for Golden’s things are life-size models of our feelings first and our architecture second.

There are moments when I am in this room that I lose more than myself. I stand dumbstruck in this thing wondering about bats and dolphins. Echo location comes to mind. Am I missing some inner equipment? In place of thoughts and words there are only feelings and sensations; heartbreak, regret, longing and fondness for the places and missing people of this world, and my own life. Abstraction at its best. The gears are freed up, spinning, sometimes quickly and sometimes slowly, I am just along for the ride. This is dislocation times one thousand and I for one am grateful for the break from myself.

Samara Golden, b. 1973, Ann Arbor, Michigan, has been featured in solo exhibitions at MoMA PS1, New York, Night Gallery, Los Angeles, and Frieze Projects, New York. Group exhibitions include MOCA, Los Angeles, Sculpture Center, New York, Zabludowicz Collection, London, and The Hammer Museum, Los Angeles. Golden will present a solo exhibition at the Yerba Buena Center for the Arts, San Francisco in March 2016. She is represented by Night Gallery, Los Angeles, and CANADA, New York. ”

images and press release courtesy of  canadanewyork.com

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WIM WENDERS | TIME CAPSULES. BY THE SIDE OF THE ROAD. WIM WENDERS’ RECENT PHOTOGRAPHS

17 September 2015 – 14 November 2015

Berlin

Blain|Southern Berlin is delighted to present new and recent photographs by Wim Wenders, the artist’s first exhibition in his hometown in over half a decade. The exhibition brings together images of Germany and America – the two countries that have most influenced the artist throughout his career.

for more information please visit blainsouthern.com
Images courtesy of the artist and Blain Southern

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Latest work by Karel Burssens and Jeroen Verrecht (also known as 88888) features a 40′ x 4′ hole in a pond surrounding the Horst medieval castle in Belgium. The structure keeps its interior dry making it possible to be lit up during the night to mark its abnormal presence even more. The project was unveiled at the Horst Art and Music Festival and will be on display until October 11.

Karel Burssens and Jeroen Verrecht  share a general interest in spatial conditions and establish this in a practice of installation art, scenography, architecture and photography. Together or separate, they work on several international projects in the worlds of museums, fashion, contemporary dance and architecture. Their expertise grew on both conceptual and productional levels, the broad interests and experience nurturing mutually.

more info at office88888.com

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Valley Curtain, Rifle, Colorado, 1970-72

” Christo and Jeanne-Claude, respectively, in full Christo Javacheff and Jeanne-Claude de Guillebon   (respectively, born June 13, 1935, Gabrovo, Bulg. born June 13, 1935, Casablanca, Mor.—died Nov. 18, 2009, New York City, N.Y., U.S.), environmental sculptors, noted for their controversial outdoor sculptures and monumental displays of fabrics and plastics.

Christo attended the Fine Arts Academy in Sofia, Bulg., and had begun working with the Burian Theatre in Prague when the Hungarian Revolution of 1956 broke out. He fled to Vienna, where he studied for a semester, and then, after a brief stay in Switzerland, moved to Paris and began exhibiting his works with the nouveaux réalistes. While working there as a portrait artist, Christo met Jeanne-Claude de Guillebon, whom he married in 1959. Jeanne-Claude was once described as her husband’s publicist and business manager, but she later received equal billing with him in all creative and administrative aspects of their work. In 1964 the pair relocated to New York City, where their art was seen as a form of Arte Povera.

Christo’s earliest sculptures were composed of cans and bottles—some as found and some painted or wrapped in paper, plastic, or fabric. Christo and Jeanne-Claude’s first collaborative works included Dockside Packages (1961; Cologne), Iron Curtain—Wall of Oil Drums (1962; Paris), and Corridor Store Front (1968; New York City). In 1968 they also completed a suspended 18,375-foot (5,600-metre) “air package” over Minneapolis, Minn., and “wrapped buildings” in Bern, Switz.; Chicago, Ill.; and Spoleto, Italy. Their monumental later projects included Valley Curtain (1972; Rifle Gap, Colo.), Running Fence (1976; Marin and Sonoma counties, Calif.), andSurrounded Islands (1983; Biscayne Bay, Fla.). In 1985 in Paris, they wrapped the Pont Neuf (bridge) in beige cloth. In a 1991 project, the couple installed 1,340 giant blue umbrellas across the Sato River valley in Japan and 1,760 giant yellow ones in Tejon Pass, California. Four years later they wrapped theReichstag in Berlin in metallic silver fabric. The Gates, Central Park, New York City, 1979–2005 was unveiled in 2005. Stretching across 23 miles (37 km) of walkway in Central Park, the work featured 7,503 steel gates that were 16 feet (5 metres) high and decorated with saffron-coloured cloth panels.The Gates was on display for 16 days and attracted more than four million visitors.

Christo and Jeanne-Claude’s huge, usually outdoor sculptures are temporary and involve hundreds of assistants in their construction. Seen as they are by all manner of passersby, including those who would not necessarily visit museums, these works force observers to confront questions regarding the nature of art. As the scope of the projects widened, increased time was needed for planning and construction phases, the securing of permits, and environmental- impact research. For each project, they formed a corporation, which secured financing and sold the primary models and sketches. Most installations were documented in print and on film, and the materials that created them were sold or given away after the projects were dismantled. ”

via Encyclopaedia Britannica

The Wall – 13,000 Oil Barrels, Gasometer Oberhausen, Germany, 1998-99

The Wall – 13,000 Oil Barrels, Gasometer Oberhausen, Germany, 1998-99

Big Air Package, Gasometer Oberhausen, Germany, 2010-13

Big Air Package, Gasometer Oberhausen, Germany, 2010-13

Wrapped Reichstag, Berlin, 1971-95

Wrapped Reichstag, Berlin, 1971-95

Running Fence, Sonoma and Marin Counties, California, 1972-76

Running Fence, Sonoma and Marin Counties, California, 1972-76

Running Fence, Sonoma and Marin Counties, California, 1972-76

Wrapped Coast, One Million Square Feet, Little Bay, Sydney, Australia, 1968-69

Wrapped Coast, One Million Square Feet, Little Bay, Sydney, Australia, 1968-69

The Wall – Wrapped Roman Wall, Via Veneto and Villa Borghese, Rome, Italy, 1973-74

Valley Curtain, Rifle, Colorado, 1970-72

images courtesy of christojeanneclaude.net

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“Limits” is a relative term. Like beauty, it is often in the eye of the beholder.

—Chris Burden

Gagosian Paris is pleased to present works by Chris Burden, his first exhibition in Paris in more than twenty years.
Since the 1970s, Burden has channeled the daring spirit of his early life threatening performances into sculptures that embody technical feats on an imposing scale. Toys (figurines, train sets, Erector parts) are used as the building blocks for expansive scale models, cities, and battlefields, while actual vehicles (ships, trucks, and cars) are suspended or set in motion in surreal and improbable ways.

Since 2003 Burden has constructed large-scale models of bridges—both real and imagined—by plotting thousands of toy construction parts. Tower of London Bridge (2003) mimics every aspect of the suspension design of the actual bridge, including its functional drawbridge. Tyne Bridge Kit (2004) is Burden’s reimagining of the Erector toolbox: the one-ton wooden chest contains rows of drawers that store the tools, blueprints, and 200,000 metal parts that can theoretically be used to assemble a 9 1/2 meter-long model of the Tyne Bridge in England. In Three Arch Dry Stack Bridge, 1/4 Scale (2013), first exhibited in the major survey “Chris Burden: Extreme Measures” at the New Museum, New York (2013–14), three elegant arches are made up of hand-cast concrete blocks, held together by gravity alone in the manner of classical keystone construction.

for more information please visit gagosian.com

photos by Thomas Lannes

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These images and others may be viewed in Sidney at Koskela Art Gallery, for more information please visit koskela.com

The exhibition is open to the public from 8th August – 27th September 2015, with a launch event at 2:30pm Saturday 8th August.

Koskela
85 Dunning Ave
Rosebery, NSW

images courtesy of brookeholm.com.au

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Spanning a variety of media encompassing photography, sculpture, happenings and performances, sound, and single and multi-channel video installations, Aitken’s work explores the modern landscape and posits possibilities for new uncharted frontiers.

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Galleria Continua is thrilled to present in its exhibition space in Beijing the show Ai Weiwei. For the first time in his life, the famous Chinese artist designs and realizes a solo exhibition in his home country, following the entire development of the project from conception to realization in situ.

The show represents a new “challenge” faced by the artist through what he defines as a “learning process”, an on-going project, which is at the same time a struggle and above all, the organisation of an actual organism. Wang Jiaci (Wang family ancestral hall) was an ancestral temple of Ming age, dedicated to the cult of Wang Hua, an important prince who was reigning during the 6th century A.D., taken as reference by all future dynasties, from Tang to Qing. For hundreds of years, the ancestral temple was considered a sacred place, destined to host offerings and cult ceremonies for ancestors, as well as a place for holding important social activities or meetings and those concerning the Wang family.

Today Wang Jiaci is the hub of Ai Weiwei’s monumental project, an ancient building which was disassembled into more than 1500 pieces and meticulously re-built inside two exhibitive areas: Galleria Continua and Tang Contemporary Art Center, crossing the wall that divides the two galleries. The peculiarity of this traditional architecture lies in its structure consisting of columns and wooden beams, completely independent and detachable from the walls. This building technique, recently developed also in the West, was used in China over one thousand years ago and is strictly related to the Chinese philosophy and thought. The choice to bring a predominant installation with imposing structure, cultural importance and aesthetic beauty inside an exhibition and two galleries, aimed at setting conditions of “totality” where the environment, which is no longer physical but also temporal and social, becomes an essential aspect of the work. Thus, visitors become part of the project, and their behaviour forms an inseparable part of it.

The visitor, invited to enter the two exhibitive areas at different times, is forced to see the work only partially, without ever being able to view and enjoy the entire architectural structure from a single point. The public is invited to walk inside a “social context” rather than a visual one, a condition in which the architectural object was deprived of its original use, thus acquiring a new shape and meaning. The behaviour of those who live this experience becomes, therefore, the focus of the entire project, and even the work itself. Ai Weiwei focuses, once again, on the importance of human actions within a particular event, not only of artistic, but also of social and public character.

For more information please visit galleriacontinua.com

Images courtesy of oak taylor-smith

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Curated by world renowned Australian surfboard designer Hayden Cox, the exhibition launch was hosted alongside surfer and Haydenshapes team reder Craig Anderson and New York Artist Jason Woodside. The Gallery event marked the release of a new artist collaboration between Haydenshapes and Woodside whose bright and colorful signature print was added to Haydenshapes latest model release ”Love Buzz” and displayed in the room along with 3 marble prints from Haydenshapes previous Summer Cage Installation project.

The large scale wave installation was created using sustainable Xantia X-Board Cardboard material. More info can be found at xanita.com.

For more information please visit haydenshapes.com

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Exhibition 27 June – 18 October 2015

A major exhibition of new work made specially for The Fruitmarket Gallery by Phyllida Barlow, one of the international art world’s brightest stars. Born in Newcastle in 1944, and with a career spanning five decades, Barlow is known for monumental sculpture made from simple materials such as plywood, cardboard, fabric, plaster, paint and plastic. Physically impressive and materially insistent, her sculptures are inspired by the outside world, and with the experience of living and looking.

Barlow’s exhibition sets out, in her own words, to ‘turn the Gallery upside down’. A new series of large sculptures engulf The Fruitmarket Gallery in art, spilling from the upper gallery over the staircase and into the ground floor, enticing the visitor from the street and into a new world.

A major monograph accompanies this exhibition. Phyllida Barlow: Sculpture 1963–2015, written by Frances Morris, Director of Collection, International Art at Tate, offers an indispensible resource on the practice of this important British sculptor. Published by The Fruitmarket Gallery and Hatje Cantz.

for more information please visit fruitmarket.co.uk

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Originally from Mexico City, Gabriel Dawe creates site-specific installations that explore the connection between fashion and architecture, and how they relate to the human need for shelter in all its shapes and forms. His work is centered in the exploration of textiles, aiming to examine the complicated construction of gender and identity in his native Mexico and attempting to subvert the notions of masculinity and machismo prevalent in the present day.

His work has been exhibited in the US, Canada, Belgium, and the UK. After living in Montreal, Canada for 7 years, he moved to Dallas, Texas, where he obtained his MFA at the University of Texas at Dallas. For the final two years of his degree, he was an artist in residence at CentralTrak, the Artist in Residency program at UTD. His work has been featured in numerous publications around the world, including Sculpture magazine, the cover of the 12th edition of Art Fundamentals published by McGraw-Hill, and in author Tristan Manco’s book Raw + Material = Art . He is represented by Conduit Gallery in Dallas, and by Lot 10 Gallery in Brussels.

more information on gabrieldawe.com

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In 2015 Serpentine Galleries celebrates the 15th anniversary of the world-renowned Pavilion commission.

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Summary:

Marking the first collaboration of its kind between the Museum of Modern Art of the City of Paris and the Museum of Contemporary Art of Montreal, this major exhibition represents a critical retrospective of the works by internationally renowned artist David Altmejd.

The Museum exhibition brings together some thirty works made over the last 15 years. Altmejd has created, among other things, a new on-site intervention. On of the major parts of the presentation, The Flux and the Puddle, 20140, offers a dazzling compendium of the main motifs and preoccupation that inhabit the artists powerful imagination.

Biography:

Born in Montréal in 1974, David Altmejd lives and works in New York. After studying visual arts at the Université du Québec à Montréal, where he majored in drawing and painting, he graduated as a sculptor in 1998. Fascinated by biology and science-fiction film, he moved to New York, where he earned an MFA at Columbia University in 2001. Altmejd represented Canada in 2007 at the 52nd Venice Biennale with the installation The Index, and took part in the Istanbul and Whitney Biennials in 2003 and 2003, respectively.

more information on www.macm.org

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Rolls-Royce Motor Cars will present the first public showing of Isaac Julien’s new work Stones Against Diamonds during Art Basel in Basel, 2015. The work, commissioned as part of the Rolls Royce Art Programme, will be shown at the Kirche Elisabethen, Basel, from 16-17 June 2015. Following the preview during the Venice Biennale last month, the video installation film will be shown on a larger scale than previously seen, as a unique site specific installation filling the magnificent interior of the imposing church across ten screens. Isaac Julien’s film draws inspiration from a letter written by Brazilian architect Lina Bo Bardi.

Stones Against Diamonds examines themes within her letter, where she praises the beauty of natural elements over preferred precious stones. Filming the work in remote Vatnajökull region in South East Iceland Austurland,, using the breathtaking scenery of glistening ice caves as a set for the film, Julien portrays some of the most beautiful objects as the least precious in a conventional sense. The shoot took place over five days with the crew enduring sub-zero temperatures deep in the heart of spectacular glacial caves, formed in ice over thousands of years and accessible for only a few days a year due to the harsh climate. Signature elements of Bo Bardi’s work have been incorporated into Julien’s work, including a staircase, meticulously built by hand in the ice cave during the production of the film.

In a move providing technical challenges for the fifty-strong crew, a larger version of the staircase was recreated during post-production before being merged, using CGI, replicating Bo Bardi’s famed spiral staircase. Continuing the parallels, Julien incorporates Bo Bardi’s signature easels in his film, made of glass and concrete, two elements present in the majority of her work.

The way in which Julien’s film will be installed in Basel continues this representation, as the artist will multiple screens positioned to draw direct comparison with Bo Bardi’s work. Stones Against Diamonds will be shown on a loop, repeated five times within the hour across the ten screens, each time varying slightly to add an element of surprise for the viewer. Richard Carter, Director of Global Communications, Rolls-Royce Motor Cars said, “The precision incorporated into the production of this work is demonstrated by the crew travelling to the ends of the earth to find the rarest, most beautiful natural components in order to create a piece of moving, dramatic and timeless art. This truly reflects Rolls-Royce Motor Cars, where the master craftsmen and women source the world’s finest materials to create rare, unique and exquisite motor cars, which transcend their primary function as a form of conveyance to become works of art themselves.”

more information on isaacjulien.com

photos by harold cunningham

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”Sean Kelly is delighted to announce From Düsseldorf, a solo exhibition of recent work by prominent German photographer Candida Höfer. This will be Höfer’s first exhibition with the gallery and her first exhibition in New York since 2013. An opening reception will take place on Thursday May 7 from 6:00 to 8:00pm, the artist will be present.

On view for the first time in the United States, the photographs presented in this exhibition were all taken in Düsseldorf, Germany — the city where Höfer first studied photography under Bernd and Hilla Becher and which, to this day, remains an important influence on her work. In the mid 70s, Höfer and her peers at the exalted Kunstakademie, known as The Düsseldorf School of Photography, created one of the most remarkable artistic movements in Germany since the Bauhaus. In the years following, Höfer has continued to photograph Düsseldorf with a fresh eye, revealing an entirely new, and unexpected, minimalist direction in her work.

Alongside the meticulously composed, large-scale, color images of interiors for which Höfer is known, the exhibition presents photographs from the artist’s remarkable new body of work. Höfer’s latest compositions focus primarily on architectural detail and structure, color and form, utilizing extreme angles and close-ups to interrogate abstract forms. These fascinating new images juxtaposed against the Baroque churches, Rococo halls, and Modern opera houses, quintessentially representative of Höfer’s oeuvre, create an exciting visual dialogue that explores the past, present, and future of both the city and the artist.

Höfer’s internationally recognized work has been exhibited in solo exhibitions at the Kunsthalles in Basel and in Berne, the Museum Folkwang in Essen, the Louvre in Paris, the Irish Museum of Modern Art, Dublin, Museum Kunst Palast in Dusseldorf and, most recently, at the Kunstmuseum Luzerne. Her work has also appeared in group exhibitions at The Museum of Modern Art, New York; the Power Plant, Toronto; Kusthaus Bregenz; Museum Ludwig, Cologne; the Guggenheim Museum, Bilbao; and Documenta XI, Kassel. Höfer represented Germany at the 2003 Venice Biennale. Her photographs are in major public and private collections worldwide.”

more information available on skny.com

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PAOLA PIVI “YEE-HAW”
Galerie Perrotin, Paris / 4 June – 1st August 2015
Opening reception: Thursday 4 June, 4-9pm
Exceptionnal closure from 25 June to 2 July

“Yee-Haw,” Paola Pivi’s ninth exhibition at Galerie Perrotin in the last fifteen years, introduces a new series of photographs with animals. Her diverse work, spanning performances to sculptures to large installations, is punctuated over the years by her photographic representations of animals in performative happenings; these are her most renowned images.

A long way from unicorns and other chimeras, the animals that appear in Paola Pivi’s world are very real. Yet, set in their strange surroundings, they appear as a dream within reality, imbuing them with a mythological aura (ostriches or a donkey sailing on a small boat in the Mediterranean Sea, 84 goldfish swimming in bowls and flying in a passenger airplane in New Zealand, different white animals grazing in an Edenic land, alligators frolicking in whipped cream in Florida or polar bears covered in multicolored feathers posing during the inauguration of Galerie Perrotin in New York). These images cast a new oneiric light over the world, viewed now through the prism of fantasy, of a fabulous bestiary. They appear to reveal a dimension that is a part of everyday life, which has only by chance never occured before in front of someone’s eyes.

For this exhibition, Pivi brought four horses to the Eiffel Tower. The animals seem to have found a new playground, an architectural landscape made to their measure. Once again, Pivi revisits and juxtaposes elements that are both familiar and archetypal into a fantastic iconography.

for more information please visit perrotin.com

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French photographer Charles Pétillon created the series ‘Invasion’, containing bundles of white, inflated balls within architectural spaces, neighborhoods and natural landscapes. He considers each photo in his series a metaphor for either a period of time, an emotional sensation, or universal urban evolution. They aim to change our perception of the ordinary sceneries we encounter everyday.

The photos were exhibited at Maison Européene de la Photographie between the 20th of February and the the 22th of March 2015.

More information and works available on charlespetillon.com

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Features include Another Magazine, Wallpaper*, Port Magazine, NY Times, Telegraph Luxury, Le Monde, Printed Pages, Telegraph Magazine

Clients include Jo Malone, Maiyet, Smythson, Sunspel, Stella McCartney, COS, Pringle

To see more of her work you can check her website at katejackling.com

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Yayoi Kusama’s latest exhibition titled ”Give me love” will be held at the David Zwirner Gallery in New York during May 9 – June 13, 2015.

”David Zwirner is pleased to present Give Me Love, the gallery’s second exhibition with Yayoi Kusama in New York. On view in two spaces, 519 and 525 West 19th Street, will be new paintings from the celebrated My Eternal Soul series, new polka-dotted pumpkin sculptures, and the artist’s seminal installation The Obliteration Room from 2002.

Widely recognized around the world, with a recent survey of museum attendance ranking her as the most popular artist in 2014, Kusama has shaped her own narrative of postwar and contemporary art. Minimalism and Pop art, abstraction and conceptualism coincide in her practice, which spans painting, sculpture, performance, room-sized and outdoor installations, the written word, films, fashion, design, and architectural interventions. ”

more information available on davidzwirner.com

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Janet Echelman‘s latest aerial sculpture has been suspended 365 feet above Boston’s Rose Kennedy Greenway. On view through October 2015, the monumental installation spans 600 feet, occupying a void where an elevated highway once divided the city’s downtown from its waterfront.

“The sculpture’s form echoes the history of its location,” describes Echelman. “The three voids recall the ‘Tri-Mountain’ which was razed in the 18th-century to create land from the harbor. The colored banding is a nod to the six traffic lanes that once overwhelmed the neighborhood, before the Big Dig buried them and enabled the space to be reclaimed for urban pedestrian life.”

Courtesy of archdaily.com

Images © Peter Vanderwarker

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Like a great skeptical underground project, Shrigley’s conceptual, idea-based art is a never-ending stream of curious propositions and eccentric moral dilemmas. With acerbic humor and strangely profound insights, the artist lays bare the ambiguities, comedy and pathos of everyday life. According to the artist, most aspects of life have the potential to be “ridiculous, absurd, awkward, funny and meaningless all at once.”

Shrigley has consistently experimented with different media and formats, although drawing has been the mainstay of his practice. This exhibition focuses on the economy and eloquence of his unique, funny drawings on paper, with their pared-down, crude graphic forms and puttering script. In all these works, the artist furthers his exploratory unraveling of the world around him with images and words that beckon the viewer to enjoy the liberating power of a good laugh.

Images & text courtesy of Antorn Kern Gallery

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MARCIN MACIEJOWSKI

Unsettled Matters

17 April to 17 May 2015

@ Wilkinson Gallery, London

”Maciejowski paints people in his life, scenes from the media, famous people, and artists, writers and other cultural figures. The paintings that reference other artists could be read as a form of institutional critique, as Maciejowski performs the act ofreimagining moments of history and culture that interest and influence him. The choice of title of the exhibition – Unsettled Matters – is a conscious reference to an article about contemporary art that refers to the past. Often art that does this accumulates these references in a kind of constellation of selfvalidation, creating a hollow surface that looks like art but would collapse if these references were removed. In opposition to this, Maciejowski’s approach to the representation of these people is the same as his approach to painting a person he loves. The images he selects to paint are the accumulation of a vocabulary of how he experiences the world – a strange concoction of the banal and the sublime, like feeling painfully sad in a theme park.

Kathy Noble”

Images & text courtesy of Wilkinson Gallery

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Diana Al-Hadid’s first solo exhibition at the gallery, titled Ground and Figures, presents a combination of various work: three-dimensional paintings, drawings on mylar, sculpture, and a site-specific installation. While continuing her course of inventing visually distinct and compelling work, for which she is well recognized, this exhibition advances several aspects of her practice – in scope, scale, and subtle shifts of color palette.

Myriad topics influence Al-Hadid’s conceptual curve, including anatomy; architecture; geology; history; and art history. These separate subjects synthesize, leading to her ingenious methods of execution, and an aberrant aesthetic emerges as a result. Everything in her repository culminates into creating impossibly intricate works, simultaneously ethereal and ragged. Each piece bridges a realm ­– dimensionality is immeasurable, and matter isn’t tangible.

Large-scale panels merge image and volume. These lace-like works, formed using an additive process combining polymer gypsum, fiberglass, and plaster, held together by a skeleton of steel, finally manifest as apparitional paintings. On the surface of each piece, gold leafing drips along lines and contours, highlighting the collapse of image, and exalting memory against the inevitable passage of time. One of the panels is influenced by a snapshot taken at Piazza San Marco that Al-Hadid captured during her last trip there, when the façade of the cathedral was mostly covered in scaffolding. The bottom of this piece is open, so that the building’s semi-discernable architectural form disintegrates out of the “frame.”

Al-Hadid created an installation specifically for this exhibition, applying a bottomless design, similar to the San Marco piece. This exploit drops a 30-foot long “wall” from the ceiling, spanning the width of the gallery space. Combining landscape and portrait imagery from various Old Master paintings, she constructed this to include a sizable egress, irregular and fissured, allowing people to move through the work. Inviting interaction, this installation is the first of its kind, giving the sense of traversing a painting, or passing through a threshold between a distant past and an obscure frontier.

Diana Al-Hadid (b.1981, Aleppo, Syria) currently lives and works in Brooklyn, NY. She received a BFA in Sculpture from Kent State University in 2003, and an MFA in Sculpture from Virginia Commonwealth University in 2005. She attended the Skowhegan School of Painting and Sculpture in 2007. Al-Hadid has received numerous awards, including: a Joan Mitchell Grant; Louis Comfort Tiffany Grant; USA Rockefeller Fellowship; New York Foundation for the Arts Grant; and a Pollack-Krasner Grant. Her work is included in many public collections, such as the Whitney Museum of American Art, New York; the Virginia Museum of Fine Arts, Richmond; the Museum of Fine Arts, Houston; The Weatherspoon Art Museum, Greensboro; and The Judith Rothschild Foundation, New York. Al-Hadid has had solo exhibitions at Secession, Vienna, Austria; Columbus College of Art and Design, Columbus, OH; Weatherspoon Museum of Art, Greensboro, NC; Virginia Museum of Fine Arts, Richmond, VA; Nasher Sculpture Center, Dallas, TX; Centro de Arte Contemporánea, La Conservera, Murcia, Spain; Nevada Museum of Art, Reno, NV; and The Hammer Museum, Los Angeles, CA.

Images & text courtesy of pacemacgill.com

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The work seven fictive dining ceremonies was particularly made for this exhibition in Milano. Fitted for the theme Luxury and the title of the exhibition Slow City Maastricht I developed the 7-piece place setting from existing cutlery in combination with the self-created parts. The design of the cutlery has the old typical shape of the silverware of Maastricht, which is also equipped with the city brand, the star of Maastricht. Back then the cutlery was a valuable and individually decorated possession, which often functioned as a showpiece and conversational piece. Surprisingly, knife and fork where not meant to be utensils for eating. Neither is my cutlery. Instead it gives seven different answers on what to do with it when you don’t use it for eating. The observer is encouraged to find new appliances to refine his mind and the fine sense for design, dreaming and fantasy.

more info on cargocollective.com

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Starting from February this year, the Centre Pompidou in Paris has hosted the latest exhibition by HERVÉ TÉLÉMAQUE. Maybe you’re already a fan or maybe you’re just lucky enough to bored in Paris and don’t know what to do, either way, you can investigate the artist a bit in the below extract taken from the museum’s official page and also glance at a few of the works which will be present in the exhibition.

25 February 2015 – 18 May 2015

from 11h00 to 21h00

”With 75 works in the form of paintings, drawings, collages, objects and assemblages, the retrospective devoted to Hervé Télémaque is one of the most significant ever devoted to the Haiti-born French artist. It reveals for the first time at the Centre Pompidou all the diversity and consistency of a challenging body of work with undeniable visual power. 

After spending three years in New York, where he became familiar with the abstract expressionism that influenced the assertive gestures of his first paintings, Télémaque settled in Paris in 1961. At this time, he became close to the Surrealist group. On canvas, he orchestrated the meeting of objects from consumer society and popular culture, which led to joyous visual short-circuits. Soon a follower of the “clear line” style, Télémaque produced paintings with a strong autobiographical element. These were constructed as metaphorical sequences with a definite critical import, half-way between counter-culture and anti-colonialism, while exploring the complex relationship between image and language. However, between 1968 and 1970, the artist stopped painting to produce intriguing assemblages of objects, where the white stick, symbol of blindness, took on a major role.

When he returned to painting, Télémaque tackled collage for the first time, profoundly reworking its current techniques.During the Nineties, Télémaque also executed drawings in charcoal, whose dark forms and sophisticated cut-out effects dialogued with a large number of reliefs in salvaged wood covered with coffee grounds. The 2000s were a period when he cast a fresh eye on the world, after returning to his African roots. His works at this time were notable for their frequent allusions to “negritude”, and their more precise comments on current French politics. In the middle of the decade, he made an unexpected and highly productive return to a striking new pictorial form. ”

Images & text courtesy of centrepompidou.fr

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In this landmark work from SFMOMA’s media arts collection, Doug Hall traverses the technologically mediated modern landscape in pursuit of what he calls a “technological sublime.” The Terrible Uncertainty of the Thing Described (1987) incorporates multiple channels of video showing extreme weather and industrial machines into a large-scale sculptural installation that features a functioning Tesla coil. The coil’s unexpected flashes of artificial lightning jolt viewers into a sudden awareness of their own vulnerable presence amid the turbulent stream of media images — the rupture, in Hall’s words, “between the world as representation and the world as fact.” This presentation at the San Francisco Art Institute’s Walter and McBean Galleries marks the first time The Terrible Uncertainty of the Thing Described has been seen in the Bay Area since it was last presented by SFMOMA in 1989. More than 25 years later, at a time when the boundaries between physical experience and the media landscape are even more uncertain, Hall’s work is still electrifying.

The exhibition is jointly curated by Hesse McGraw, vice president for exhibitions and public programs at SFAI, and Rudolf Frieling, curator of media arts at SFMOMA and visiting faculty at SFAI. Hall is professor emeritus at SFAI, where he taught from 1980 until 2008.

Source: http://www.sfmoma.org/exhib_events/exhibitions/587#ixzz3WEwfqeof

San Francisco Museum of Modern Art

ABOUT THE ARTIST

San Francisco–based Doug Hall is professor emeritus at SFAI, where he taught from 1980 until 2008. Hall is currently a visiting artist in graduate fine arts at California College of the Arts. His internationally acclaimed work spans performance, video, and photography.

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But still, Philadelphia-based artist Alex Da Corte manages to bring a different type of scare to the surroundings of the bourgeoise neighborhood through his bizarre exhibition ”Die Hexe” (meaning, ”The Witch”). According to Curbed, the exhibition incorporates the work of three other artists: Bjarne Melgaard, Mike Kelley and Robert Gober, in a five-room show that is reminiscent of David Lynch’s Twin Peaks X The Shining X random dodgy 70s strip club.

To me, the revealing nature of each room is what contributes most to this startling feeling of uneasiness you MIGHT get when you are part of the show. And if you ask me, that orange gingham check patterned wallpaper is enough to make you want to flee in terror and never turn back. Still, the artist probably felt like it wasn’t enough and also managed to add a screechy-creepy old rocking chair to make sure he gets the point across and give the room some feng shui.

If you are that lucky to be in New York this spring, then consider going to see this thing rather than go to, let’s say, a park or a conventional museum because hey, you’re crazy and fun (just like you said you were on tinder)

that gingham check, man. too much. it’s too much for me.

Images courtesy of timeout.com

More information over here: luxembourgdayan.com

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Zin Helena Song’s visually complex sculptural paintings are rooted in both Western and Asian art influences melded with modern societal concepts of order and multiplicity. Her process incorporates hard-edge abstract paintings on top of meticulously hand-fabricated three dimensional geometric forms that are mounted to the wall. Each piece is painted with precision, using a subdued and boldly contrasting color palate to accentuate the lines and angles of the shapes. Ultimately the pieces push the boundaries of paintings into the architectural realm by activating space. The series titled Polygon in Space feature sharp edges that imply movement, while the Origami series hover as if hollow and weightless despite the strong and dominating, protruding structure.

Song moved from Seoul to New York in 2009. She completed her MFA at Long Island University Post in 2014. She received the O’Malley Scholarship in 2013 and the Eleanor Lockwood Memorial Award in Sculpture (2014). Her work has been acknowledged in numerous publications including MOMA PS1 Studio Visit, The Jealous Curator and The Brooklyn Rail.

Images and information via carlesmithgallery.com

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Technology allows for new forms of communication; however every system enhances certain types of communication while limiting and simplifying others. It’s these modulated effects and alterations to our perception that has become thematic focus to his works, whether dealing with socio-political issues or inward personal emotions.

Thermal Energy
(2013)
160cm x 120cm x 90cm

Thermal Energy
(2013)
160cm x 120cm x 90cm

(An array of lights intersect through a fence at an angle, with the colors visualizing hot air rising and cold air sinking. This work visualizes what is invisible, air, and shows it passing through a fence, letting the viewer think about air as a substance that fills all open spaces and travels through fences, borders, etc.)

Originally studying film and animation at New York University; at graduate school (NYU’s Interactive Telecommunication’s Program), he came to view televisions as light systems and their own medium. Instead of relying on this set system, he started to develop his own visual systems by controlling and manipulating light itself. These light works became a physical extension of the pixel beyond the screen, pixels that created three-dimensional sculptural form.

Plotted Coordinates
(2013)
120cm x 120cm x 45cm
Metal, 3D Printed Joints, Lights, Filters

(A piece that references the spatial information of three dimensional objects. The steel beams create a grid XYZ reference point in which a jagged line move through ( Up, Down, Left and Right ) spatially plotting coordinates to create a three dimensional form. The lights are filtered to run through the spectrum of colors, alluding to the various colors an object might be.)

In 2007 James moved to Dubai and lived there till 2012. In the five years living there he became an active participant in the development of the arts and culture scene of the globalized city. While his early work dealt with analyzing how technology and media work, his experiences in the Middle East saw his focus shift to how technology and media affect. This included themes of nationalism, globalism, and popular culture in the age of mass information.

In 2012 James moved his studio back to New York where he currently lives and works.

Two Times One Sun
(2013)
160cm Diameter
Lights, Filters

(A visualization of the sun from two different perspectives on earth. One showing the sky with the sun setting and the other showing the sky with the sun rising. This work compresses the timezones between the two perspectives and focuses in on a single object viewable from both places; the sun.)

Synesthetic Timeline at Frankfurt Airport

(2013)
Steel, Acrylic, LEDs, Cables, Microphones, Computers
3m x 26m

“Synesthetic Timeline” is a permanent installation in the Fraport headquarters in Frankfurt Germany. It consists of two audio interactive light installations that convert live sound into geometric lines of light.

These two large wall pieces monitor the live ambient noises in the lobby and translate them into light animations that travel up the (elevator) walls. The bottom of the wall displays the current sound levels, which then move up the geometric structure, allowing people to see the sound and a visual chronology of sound in the space. The installation changes and morphs according to the sound activities in the building environment and as planes fly overhead.

*Additional programming and system design with Kentaro Okuda

Cell Division
Cell Division (Tensile) (2012)
150cm x 90cm x 90cm
Fluorescent lights, acrylic tubes and light filters

(Two spherical tensigrity structures are connected and mirror each other, recreating the moment of cell division through geometric, structural lighting.)

Got Recession
(2010)
100 cm x 80 cm x 60 cm
Magis ‘Puppy (XL)’, Brass Rod, Steel Rod, Acrylic, LED lighting
Edition of 2 + 1 AP

(“Got Recession” is the artist’s version of architecture in Dubai at the height of the economic boom, and then forwarded a few months to the global recession, leaving a half-finished architecture skeleton. Scaffolding still surrounds the building and at night the lighting glows internally. Similar to many projects put on hold in Dubai, the lights were kept on at night, until the project was finally cancelled and the lights went off.)

Versace Singular Suit
(2009)
3 m x 3 m x 2 m

(Versace Suit, Mannequin, FL tubes, Acrlyic
Created for The Singular Suit exhibition at Somerset House, London. Organized by and featured in Esquire Magazine.
18 major fashion designers were asked to select an artist or designer to collaborate in re-imagining the classic suit. The following are the list of collaborations.)

Among the artist’s wide range of pieces, it’s possible to focus on his light installations as stand-alone pieces or, better yet, as a solid body of work. Experimenting with an assortment of materials such as acrylic, metal and fiberglass and, obviously, fluorescent lights, Clar skillfully showcases numerous subject matters: from symbolic reductions or augmentation of an event, form experimentations, pattern replications, to sophisticated criticisms of the pitfalls of daily technology and information.
The extension of a pixel beyond the screen limits to become a complex three dimensional work is one of the many insights from the artist, an exploration of his extensive library is well recommended for media critique and installation art enthusiasts.

Currently displaying wprks at: Rockaway!, MoMA PS1 / Honolulu Biennial, New York
Big Bang Data, Center for Contemporary Culture (CCCB), Barcelona
The Language of Human Conciousness, Athr Gallery, Jeddah
They Sicken Of The Calm Who Know The Storm, Fridman Gallery, New York
OnScreen, Carroll / Fletcher, London

via jamesclar.com and trendland.com

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The plant appears in some of her paintings and works on paper as early as 1948. After her return from New York to Japan in the 1970s she rediscovered the theme, and began making serial works depicting the pumpkin in various media: paintings; prints; sculpture; installation; and environmental works. She has made tiny pumpkins no bigger than a key ring, and monumental pumpkins that dwarf the viewer with their scale. She has placed pumpkins in box structures and in mirror rooms, and used the
distinctive knobbly patterning of their skins as inspiration for her unique dot-patterned paintings and textiles. In 1993 pumpkins formed part of her presentation in the Japanese Pavilion at the Venice Biennale. In 1994 her iconic exterior sculpture of a large yellow and black pumpkin was sited at the Benesse Art Site Naoshima, an island in Japan’s inland sea dedicated to displaying art within nature.

The artist has a strong personal identification with the pumpkin, and has described her images of them as a form of selfportraiture. She admires pumpkins for their hardiness and everyday quality, as well as for their unique and pleasing physical qualities. She has written:

“‘Pumpkin head’ was an epithet used to disparage ugly, ignorant men, and the phrase ‘Put eyes and a nose on a pumpkin’ evoked a pudgy and unattractive woman. It seems that pumpkins do not inspire much respect. But I was enchanted by their charming and winsome form. What appealed to me most was the pumpkin’s generous unpretentiousness. That and its solid spiritual base” (Yayoi Kusama, Infinity Net: The Autobiography of Yayoi Kusama, trans. Ralph McCarthy, London 2011, p.76).

Yayoi Kusama in Mirror Room (Pumpkin) (1991)

Yayoi Kusama, Pumpkin Chess Set 2003, hand-painted porcelain, leather, timber. Courtesy of RS&A Ltd, London.

“YAYOI KUSAMA: New Sculptures and Recent Paintings”
Installation view
Photo by Douglas M. Parker Studio

“YAYOI KUSAMA: New Sculptures and Recent Paintings”
Installation view
Photo by Douglas M. Parker Studio

- via victoria-miro.com

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With an explorer’s thirst for knowledge, Markowitsch has combed through, brought to light and reinterpreted many of the traces left in the Coninx Villa by those who once lived there and by the art they collected. One fundamental aspect of his approach lies in his handling of light. Rooms as bright as day alternate in a crescendo and diminuendo of light with dimly lit spaces and still others that are shrouded in darkness. This score of light and dark not only influences and interprets the effect of the works presented in these rooms, but also points up the architectural changes to the building.

Exhibition View ALP, 2013

Emma’s Gift, Courtesy: Galerie EIGEN+ART, Berlin Leipzig

In his projects, Rémy Markowitsch creates imaginary contextual spaces by drawing on an immense store of references, but these spaces can only be accessed through his objects, photographs and his installations. Whether it is an expedition into our reading of foreign cultures as in On Travel, or the exposure of the convoluted links between money, the stock market, desire, power, politics and industry, as in The Onion Option: all of Markowitsch’s projects are the result of extensive forays into literature and research, history and politics, colonialism, the appropriation of the other, a passion for collection and addiction. In Emma’s Gift, inspired by Flaubert’s novel Madame Bovary, it happens that Emma Bovary gives a present to her author while the artist presents a gift to his public in the form of a song by the band The Hillbilly Moon Explosion,Madame Bovary, c’est moi.

http://www.markowitsch.org

PHOTOS: eigen-art.com

-via artsy.net, http://thenewcollectorsbook.com/

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Architecture is one of her subjects. As modern as the word architecture sounds, Genzken sees every structure as the ruin it could turn into. For her series of sculptures called “New Buildings,” she leaned sheets of glass and plastic against each other. The objects are reminiscent of models of skyscrapers for a new modern age — crystalline, highly aesthetic and yet somehow makeshift. She titled one of her shows “Fuck the Bauhaus,” because so many architects invoked the Bauhaus after 1945 and yet did not adhere to its rules.

Untitled, 2007: The MoMA show, which will later travel to Chicago and Dallas, is a triumph for Genzken, albeit a distant one. She isn’t nearly as famous in her native Germany, even though she has exhibited at the Documenta contemporary art exhibition three times, represented Germany at the Venice Biennale in 2007 and received many important awards.

She repeatedly creates metaphors for vulnerability. She spray-paints twisted pieces of sheet metal with bright colors, hangs them on the wall and calls it “Gay Baby.” Many of her images depict destruction. She builds tableaus that feel like three-dimensional film stills, brutal arrangements with plastic toys and small plastic figures on replicas of fields of ruins. She creates beauty from ugly things, even wheelchairs and shabby umbrellas. Humor is also a recurring theme in her work. For one installation, she placed an assortment of sunglasses onto busts of Nefertiti.

This is Genzken’s world: minimalism and trash, neon and despair. Hieronymus Bosch, Marcel Duchamp, American concept art — it all flows into her work, as does the mood in the clubs she visits and the mood in her own head.

There is something cryptic about Genzken’s art, something mysterious that is unfathomable and yet perceptible. Her art is very private and sometimes irritating, almost as if she were using it as a coping mechanism.

Genzken has bipolar disorder and goes through manic and depressive phases, and she is also an alcoholic. She is constantly in treatment to manage her condition. But anyone who knew her in the 1980s would have hardly believed she would still be alive today. There were times when Buchholz had to pull her off the streets, where she regularly ended up. “It wasn’t always easy,” he says. (“Schauspieler,” 2013.)

She is a nonconformist in the German art world, perhaps more surprising and multifaceted than anyone else. “Yes, that might be true,” she says with a smile. (“Schauspieler,” 2013.)

Genzken’s way of working could be compared to the multiplicity of approaches found in the paintings of Gerhard Richter and Sigmar Polke or the related efforts of James Welling in photography, yet, unlike those artists, Genzken cannot be defined by a single medium or tradition and has made compelling and influential contributions in numerous fields. It is difficult to pinpoint any artist working in this period who has pursued such an intentionally varied path, and in recent years, a new generation of artists, curators, and art lovers has been inspired by her radical inventiveness. The past decade has been particularly productive for Genzken, who has taken her interest in found objects and collage and created several bodies of work that have redefined assemblage for a new era. These works, which range from smaller, diorama-like works to room-filling installations, incorporate photographs, kitschy souvenirs, pop culture cast-offs, cheap household products, and high-end design objects, obliterating any hierarchy of value between them as they are combined into powerfully evocative statements that are immediately recognizable as Genzken’s.

Isa Genzken
Oil XI, 2007

Hotel Tools, 2008
Plastic, metal, spray-paint, tools and household goods

Hospital (Ground Zero), 2008
Artificial flowers, plastic, metal, glass, acrylic, spray-paint, mirror foil, MDF and casters

Disco ‘Soon’ (Ground Zero), 2008
Cardboard, plastic, mirror, spray-paint, acrylic, metal, textile ribbons, light ropes, mirror foil, colour print on paper, MDF and casters

Biography
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Spiderman
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Index 8 of 65 works
Spiderman, 2008
Paper, dried plant, fabric, stuffed animal, plastic, spray-paint, acrylic, shoes and tape

Isa Genzken installation, Inverleith House

Mannequins in bizarre fashion-disaster blends of sunglasses and riot gear, plus a toy monkey dressed up for some appalling art fair, ape the puzzled spectators who wander among Genzken’s sprawling collages and junk sculptures. Through it all runs a fascination with the nature of beauty that is oddly appropriate for the botanic garden, after all. In one rollicking combine laid out on the floor, posters of artistic masterpieces from Berlin’s museums including Caravaggio’s Victorious Cupid collide with contemporary ephemera in a meditation on beauty and desire, love and loss, in the modern world.

Isa Genzken is one of the standouts at Edinburgh art festival 2014.

- via moma.org; hauserwirth.com and spiegel.de

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It transpires that hell, 140 years after the French poet published his masterpiece, isn’t other people but their mobile phones. According to Da Corte, these devices can act as a portal to our dreams or to a considerably less pleasant place. At David Risley Gallery in Copenhagen, the two rooms of Delirium I used colour, smell, texture and imagery to explore how hope and expectation can turn out to be the stuff of nightmare.

Photo: davidrisleygallery.com

Alex Da Corte was born in Camden, N.J., in 1981 and currently lives and works in Philadelphia. He received his BFA from the University of the Arts and his MFA from Yale University in 2010.

Da Corte has recently mounted solo shows and presentations at the Institute of Contemporary Art, Philadelphia; Artspeak, Vancouver; Mother’s Tankstation, Dublin; the Institute of Contemporary Art, Portland, Maine; and Nudashank, Baltimore. His work has been shown at MoMA PS1, the Museum of Modern Art and the deCordova Museum, and he has participated extensively in gallery and non-profit exhibitions in the US and internationally.

In 2012, Da Corte was named a Pew Fellow in the Arts by the Pew Center for Arts and Heritage, Philadelphia.

Photo: davidrisleygallery.com

We live in our phones although we sometimes occupy space beside other people. The telephone is our closest ally, the mediator between the present and our projection of the present. It is in some ways a portal to our dreams. It can be a portal to hell if used properly.

Scene One Room One
The viewer (you) enters the room. The smell of Calvin Klein’s Obsession lingers. There is an acrylic tiled floor. Its pattern is a lattice-type grid; the spaces in between the lattice lines are mirror. It appears as if you might have to walk only on the lines for fear of falling into nothingness. There is a green mirror shelf on the wall. As you enter you see yourself in green. You are comforted. You think of money. You are happy with what you see. You are hopeful that you may find someone like that after the opening at the gallery. You walk further into the space because you see a tapestry/quilt with roses on it. You think it’s an Hermes scarf; it makes sense since you are in a fancy part of town. There are beautiful roses on it. You see red. You are lustful. You see a photo of a woman lying on the floor. You pass by the other side of the green mirror shelf. There is a bloody knife on the shelf. You wonder if the woman is okay. She is clutching the beautiful Hermes scarf. You look at the scarf closely. and realize it is covered in blood drops and spiders and scabs. This scarf is in disguise. It is covered in blood drops and spiders and scabs. It is not the silk you imagined it would be, it is a horrible nylon banner, a cheap knockoff, a myth. You didn’t notice the broken eggs on the floor because you were cloudy from the CK perfume. This place is Hell and you hope to wake up. End scene.

Photo: davidrisleygallery.com

Scene Two Room Two
The space is divided by laminated Ikea shelves. There are several knockoff Hermes scarves on the wall. There is food on the shelves and on the scarves. You want to eat it. You see two pictures of your lover. She is your monster and you are her doctor Frankenstein. You have made her all that she is and could be in your mind. You find that you are on the other end of the telephone. You have her by the bolts. You can bring her joy. You understand she is lost without you. You are cocksure. This is your home, your poem, so do what you want. You are in this space and feel comfortable, warm. You are the maker. You believe you are in control now.

Alas, all is not well. You grow hungry in the space and reach for the food. It is rubbery and tart. It provides no comfort. A telephone rings. But you see no phone. It may be your lover calling but you cannot pick up. Maybe she is calling you back. Maybe the love you made is truly the only thing that will cure your Hell. But in dreams, unfortunately, time is long and slow.

Photo: davidrisleygallery.com

Da Corte’s delirious installation is bright, striking and overwhelming. He says, “The stage sets are comprised of quilts, photographs, perfumes, plastic tiles, and sculptures. It is the fifth installment of an ongoing series of work created in relation to ‘A Season in Hell.’”

The poem was written when Rimbaud was just 18, after a tempestuous affair with his contemporary Paul Verlaine. The poem has served as inspiration for artists for over a century, and has been published alongside the photographs of Robert Mapplethorpe.

Photo: davidrisleygallery.com

Photo: davidrisleygallery.com

Photo: davidrisleygallery.com

Photo: coolhunting.com

Photo: coolhunting.com

Longtime friends and first-time collaborators Alex Da Corte and Jayson Musson create a major new commission for ICA. Featuring lesser-known strengths in their practices—video for Da Corte and language for Musson—Easternsports is a four-channel, multilingual soap opera starring the artists, both of whom have deep Philadelphia roots. A vignette-driven update of Thornton Wilder’s Our Town—equal parts Peter Greenaway and Jim Henson, David Lynch and Duck Amuck—the work will be presented as an in-the-round video installation.Scripted by Musson and directed by Da Corte, this institutional telenovela willbe developed and filmed in the summer of 2014.

Organized by Assistant Curator Kate Kraczon. Accompanied by a fully illustrated catalogue.

Exhibited SEPTEMBER 19–DECEMBER 28, 2014 – at Institute of Contemporary art, University Of Pennsylvania, Philadelphia.

Alex Da Corte & Jayson Musson: Easternsports, 2014, video still, color, sound.

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Vitturi – who lives locally – feels compelled to capture its distinctive nature before it is gentrified beyond recognition. Vitturi arranges found objects and photographs them against backdrops of discarded market materials, in dynamic compositions. These are combined with street scenes and portraits of local characters to create a unique portrait of a soon to be extinct way of life.

Photo: thephotographersgallery.org.uk

Photo: lorenzovitturi.com

The makeshift sculptures he creates mimic the organic and temporary nature of the market, and documenting this by photographing the objects is the way in which they endure before diminishing once more. In the photographs we see a cacophony of texture and color: Afro’s and braids, fruit, pork, fish and balloons, bright paint and tarps used for the stalls. Vitturi focuses on the abstract but universal language of shapes, colours and composition.

“Every day people are inventing ways to present themselves and their small shops to the passing public,” says Vitturi. “It’s an endlessly creative as well as commercially competitive place that can sometimes be a little overwhelming, but it is that edgy dynamic that I wanted to reflect in my images. I was trying to recreate the identity of the market through whatever I could find there that served my vision of the place and its energy. So the coloured chalk that is used to cover some of the faces in the images is sold in little baskets on a stall on Ridley Road. Later, I found out that the chalk is used as a painkiller in west Africa for women who are pregnant. Every picture has a hidden story.” – The Guardian

Photo: lorenzovitturi.com

Photo: lorenzovitturi.com

Photo: lorenzovitturi.com

Photo: lorenzovitturi.com

Photo: lorenzovitturi.com

Photo: lorenzovitturi.com

Currently, his work is being exposed at The Photographers Gallery until October 19th.
16–18 RAMILLIES STREET, LONDON W1F 7LW

-via lorenzovitturi.com

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Since the early 1990s, Joonho JEON has been noted for his installation works, often consisting of sculptural pieces, video images, and paintings, that showcase his unique re-interpretations of Korean socio-political environment. The artist believes that in order to understand reality, one must surpass the given reality and perceive the subject from a different light. With a humorous and satirical undertone, JEON’s hyper-realistic works mainly focuses on the various incidents from the tumultuous Korean history, from which he attempts to elicit questions from the viewer. 

Although the dominant narrative is based on Korean society, the multi-layered reality he depicts remains universal at its core with his commentary on the general conditions of human being. Notable past representations of JEON’s work include, Scai the Bathhouse in Tokyo (2009), Galerie Thaddaeus Ropac in Paris (2008) and Perry Rubenstein Gallery in New York (2007). Important group exhibitions include The Museum of Fine Arts in Houston and Los Angeles County Museum of Art (2009); Moscow Biennial (2009); L’espace Louis Vuitton (2008); Nanjing Triennale, Busan Biennale (2008); Mori Art Museum (2007); Singapore Biennale (2006); Gwangju Biennale (2004). JEON was also the recipient of 2007 Grand Prix of the 27th Biennial of Graphic Art in Ljubljana and 2004 prize at the Gwangju Biennial. His works are included in the public collections of the Museum of Fine Arts in Houston, Uli Sigg Foundation, Seoul Museum of Art, National Museum of Contemporary Art in Korea.

“I am a realist, especially in the sense that I am interested in revealing in my work the lifestyles, desires, conflicts and contradictions of contemporary people using a variety of media.” – Jeon Joonho

Jeon Joonho, The White House Photo courtesy of Perry Rubenstein Gallery

For Another Monument, 2004

© Jeon Joonho
Untitled, 2009

BODHISATTVA”, 2008-9, 125 x 58 x 82 cm, Zelkova wood

“THE WHITE HOUSE”, 2005-6, Digital Animation (32′ 16”)

“SWEET VALENTINE”, 2008-9, 230 x 125 x 63 cm,
Gingko wood, Gold plated on fiberglass and resin

“Player 13″, 2007, Installation view at Arario Gallery, Korea

Joonho Jeon 《The Creature of Induction》

‘NEWS FROM NOWHERE: CHICAGO LABORATORY’

Jeon Joonho works will be on display at Gallery Hyunday Seoul starting August 29th through September 28th.

- via artnews.org , scaithebathhouse.com

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Photographer José Ginarte goes behind the scenes of the performance and art summer benefit at the The Watermill Center in Long Island, the interdisciplinary art space started by theater and visual artist Robert Wilson. Art, fashion and performance came together in a dreamy night of costume, art and intrigue, where every turn was a new adventure.

PHOTO: thewildmagazine.com

Theater and visual artist Robert Wilson’s interdisciplinary art space, The Watermill Center, will hold an art auction benefiting their artist residency program. With works by Daniel Arsham, Richard Barnes, Susan Meiselas and many more, the night will include installations and performances across the beautiful Long Island property, attracting patrons of the arts across the world. The works in the auction, all available on Artsy, are a diverse collection, as vibrant as the center itself. Check out the highlights of the event from July 26th!

DERRICK ADAMS, Head Study, Figure Plate, 4, 2011

FARLEY AGUILAR, Portrait of Boy, 2014

DANIEL ARANGO, Holy K gays cereal and Holy K straights cereal, 2013

JEFF BARK, Pull Down, 2014

DANIEL ARSHAM, Ash Eroded Cassette Tape, 2014

RICHARD BARNES, Murmur No. 1, 2005

HANS BREDER, Ophelia, 1971

SUSAN MEISELAS, Shortie On the Bally, Barton, Vermont 1974, 1974

AGANETHA DYCK, Green Hand, 2010-2011

JUSTIN MOTT, Cultural Bliss, A model swims underwater past an elephant and a mahout at a private home in Phuket, Thailand, 2011

GINA VASQUEZ, Rebirth, 2014

SCOTT ZIEHER, Untitled, 2012

Photo by Lucie Jansch

-via thewildmagazine.com

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PHOTO: art-agenda.com

PHOTO: art-agenda.com

Entitled “Reminiscence,” Hong’s show is not a mere exercise in citation. While acknowledging that “the past is fixed,” the Korean artist also has an interest in evolutionary processes, leaving open how earlier artworks may be entailed in future ones. This interest dates as far back as 1997, when Hong began her ongoing “Organic Geometry” series, which explores the permutations of primary digital structures.  Echoing the modernists, the artist started by working with the grid, though hers is not a site of transcendental abstraction, but a laboratory for formal experimentation, where pixels can germinate toward undetermined ends. For her part, Hong sets the coordinates on this virtual Cartesian plane: by exploiting the algebraic constraints of the interface, as well as facilitating the transformation of digital images into art objects.

PHOTO: art-agenda.com

PHOTO: art-agenda.com

In Organic Geometry, at one corner of the main gallery, three identical prints sit propped on a shelf. They feature a blocky structure quartered in an obnoxiously large “X” of a seeming expressivity that belies its pixel-laden facture. While specifically indexing their virtual origins, the prints imply that expression and negation are never without mediation. With these three images, the frames do part of the work, introducing difference through their respective black, grey, and white tones.

PHOTO: art-agenda.com

Elsewhere, other hierarchies come under review. The birch plywood Dancing Drawers seem untroubled by their position at the threshold of fine art and design. As one unit’s drawers remain straight-faced, the other’s zigzag with personality. The gallery goers seem equally untroubled; during my visit, two women investigated their contents.

PHOTO: art-agenda.com

PHOTO: art-agenda.com

PHOTO: art-agenda.com

-review via art-agenda.com

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Visit Frieze London and join in the contemporary art event of the year. In addition to being able to see and buy art by over 1,000 of the world’s leading artists, visitors can experience Frieze Projects, the fair’s unique and critically acclaimed programme of artist commissions and Frieze Talks, a prestigious programme of debates, panel discussions and keynote lectures.

Frieze London is housed in a bespoke structure in Regent’s Park. Located in the heart of London, it is within easy walking distance of the city’s West End.

Frieze London is one of the world’s leading contemporary art fairs and brings an international art audience to the UK capital every October. In previous years the fair has employed a series of globally recognised architectural firms: Carmody Groarke (2011–2013), Caruso St John (2008-2010), Jamie Fobert (2006–2007) and David Adjaye (2003-2005).

Universal’s clients include the Ace Hotel, Vitra, LVMH and major cultural institutions such as The Victoria and Albert Museum, Science Museum and National Gallery in London. Recent completed projects include: Google Web Lab at the Science Museum, London; exhibition design for Vitra’s Vitrahaus exhibition, Weil am Rhein; design of the ‘Magnificent Maps’ exhibition at the British Library, London; and both the interior and exterior of the Ace Hotel, London.

Amanda Sharp and Matthew Slotover, founders of Frieze, commented: ‘The architecture and design of the fair have always been an important part of our identity. This year we were drawn to Universal in particular due to their work on interiors and focus on materials. As some of the best designers work- ing in this area, their lateral thinking has been demonstrated by some of their great furniture and even their design for the olympic torch. We’re really looking forward to them bringing this sensibility to Frieze. ’

Sophia Al Maria (b.1983, USA) will carve out subliminal routes across the fair, pointing to potential conspiracies.

Jason Holley, Director of Universal Design Studio, added: ‘We look forward to producing a spatial experience that cements the fair’s reputation as a must-see destination on the arts calendar.’

Tobias Madison (b.1985, Switzerland)will construct an experiential environment in which visitors’ movements will be translated into light.

At the fair, Nick Mauss (b.1980, USA) will create a ‘living stage’ on which a new ballet will be performed each day.



Jonathan Berger (b.1980, USA) will reassemble fragments from Andy Kaufman’s personal life and career, and restage a forgotten piece of music from Kaufman’s 1979 variety show at Carnegie Hall.

Frieze Art Fair 2009.
Photo by Linda Nylind.
15/10/2009

Find here the complete list of exhibitors 2014.

-via friezelondon.com

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Sergio Garcia is a US-based artist who uses the unconventional as a theme for his work.  Sergio Garcia embraces painting as platform for self-expression, as well as a channel through which to explore the contemporary socio-political climate. The Texan based artist works primarily in print and sculpture, often using text and icons of childhood and adolescence. Garcia recreates these icons by engaging unusual materials; a common thread in the artists’ practice. Employing objects such as tricycles, Garcia reinvents them as fanciful vessels denying their functionality by morphing the frames into whimsical Dr Seuss like riddles, which he sees as a nostalgic nod to childhood whimsy.

Sergio Garcia dabbles in many artistic disciplines, but the core of his work is a desire to alienate his viewers from the familiar. Garcia takes mundane objects as a starting point and artfully manipulates them until they take on new meanings. 

The tricycles are probably Garcia’s most identifiable works; straightforward and successful, they are altered to include symbols like hearts and infinity signs, rendering them nonfunctional. These works create a playful relation between a child’s trike and symbols often drawn by children. The campy pairing is not conceptually dense, but charmingly simplistic, in keeping with the childhood references.

A sculpture of a small girl entitled No time to slow down, whose head has been replaced by another bubble-blowing hand is like a cross between a surrealist nightmare and an equally fabricated 1950s manikin display. The result is an unsettlingly funny vision that looks convincingly realistic while being as phony as Garcia’s artificial flowers.

In addition, Garcia’s paintings stake a claim for words as images, deliberately juxtaposing phrases that ironically contradict one another to evoke a controversial dialouge.  He has exhibited at countless galleries and fairs, including the SCOPE ART Fair, 941 Geary, Hal Sampes Gallery, and Gallery Lombardi.

“We, as humans, are naturally drawn to the unorthodox. I have always enjoyed the use of the unconventional as a base for my artwork. I enjoy creating art that people can relate to and that stimulates the creative subconscious. Not only to create an emotional relationship between art and viewer, but to conjure up questions of how and why. It is this desire to create a connection with the viewer that fuels my creativity.
My passion is creating a perfect balance of light and shadow. Light is the core of my artwork. Without light there is no art. Without art there is no life. Amen, brother.” – Sergio Garcia Statement

-Photo Source via sergiotheg.com and whitewallssf.com

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Art Southampton, presented by Art Miami, is the premier international contemporary and modern art fair taking place at the peak of the social and cultural season in the Hamptons, July 24 through 28, 2014. The fair features a carefully selected group of more than 75 international art galleries with a strong focus on works from the 20^th and 21^st  centuries.

Each year, the fair is located on the sprawling 18-acre estate property behind the Southampton Elks Lodge and adjacent to the Southampton Golf Club, directly off of Route 27 A. The proximity of the Art Southampton pavilion provides convenient access for residents and collectors on Long Island, the greater New York region and the Tri-State area who visit the Hamptons frequently during the summer. Ample on-site parking and valet service are available.

The fair will commence with a Platinum VIP Preview to benefit the Parrish Art Museum and Southampton Hospital and will be sponsored by Maserati, GRAFF Diamonds, Ruinart Champagne and Saunders & Associates.

The VIP Preview will be a two-tier evening, providing limited early access for Platinum VIP cardholders on July 24th from 6pm-7:30pm. The evening will continue for all VIP Cardholders from 7:30pm – 10pm.

Last year’s VIP Preview attracted over 4,200 collectors, art advisors, curators, museum professionals and designers thanks to our influential Host Committee and sponsors. Art Southampton 2013 ended on an exceedingly high note with exhibitors reporting sales of important works for six and seven figures throughout the weekend The fair’s attendees termed Art Southampton the art event of the season.

Art Southampton 2014
July 24 – July 28, 2014

Art Southampton Pavillion 605 Country Road 39
Southampton, NY 11968
United States
t: +1 (305) 515-8573

-via art-southhampton.com

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Caruso St John Architects, the team behind the Tate Modern, will be renovating three listed warehouses on the street and adding two more structures to create the full gallery, which is aptly named Newport Street Gallery. The space is due to open in May 2015.

‘Golden Myth’ (2014) © Damien Hirst/Science Ltd., All rights reserved, DACS 2014

‘Golden Myth’ (2014) © Damien Hirst/Science Ltd., All rights reserved, DACS 2014

On July 23rd the Leonardo DiCaprio Foundation held its inaugural charity gala in St. Tropez, at the winery Domaine Bertaud Belieu. The auction, which was conducted by Simon de Pury, succeeded in raising over $25 million for the Foundation’s environmental causes.

Hirst’s ‘Golden Myth’ (2014), a gilded bronze unicorn on a golden plinth, with an anatomical cross-section revealing the taught sinews and musculature of a horse raised €4.5 million, and was included alongside a piece by Picasso which raised $1 million.

Standing at over three and a half metres in height, the work continues Hirst’s enduring investigation into the relationships between art, religion and science. Similarly to the iconic ‘The Golden Calf’ (2008) and the gilded mammoth ‘Gone but not Forgotten’ (2014), ‘Golden Myth’ is an example of Hirst’s use of elements of the mythical or spiritual to explore the more unfathomable realities of life, or as he describes it: ‘exploding the myth, to make something real’.

‘Golden Myth’ (2014), detail © Damien Hirst/Science Ltd., All rights reserved, DACS 2014

‘Sensation’ (2003)
Image courtesy of White Cube © Damien Hirst and Science Ltd. All rights reserved, DACS 2014

‘Beautiful Magnificent Show me Heaven Painting (with Butterflies and Diamonds)’ (2007)
Photographed by Prudence Cuming Associates © Damien Hirst and Science Ltd., All Rights Reserved, DACS 2014

-via damienhirst.com and huhmagazine.co.uk

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The fascination with architecture, a constant in the work of Dionisio González and his concern for social wreck lead him to a permanent search for sites where chaos and beauty coexist. Dauphin Island, an island located in the Gulf of Mexico suffers the constant scourge of hu-rricanes, the artist was impressed by the energy of its inhabitants to recover what is cyclically destroyed by nature. Dionisio reflects on the acceptance of adversity and the bond esta-blished between construction and destruction, which he believes has generated constructive structures for the resignation. The economic insecurity and resignation to what they consider inevitable prevents the inhabitants of the island to invest in housing grounded in concrete, something as irresponsible as build nuclear plants in seismic areas or houses on the hillsides.

photo yusto-giner.com

This helplessness to the climatic attack causes the artists intervention, leading him to design a project of habitable and sustainable architecture, real futuristic forts made of iron and concrete, replacing wood. An alternative that exists today only on paper on the island of Inge-nuity. The artist intention to provide answers to the problems of the world is rather rare in the world of art, since in most cases the artist limits himself to interpret or simply demonstrate its existence as a reporter or a notary. Dionisio González reaches with his intention a level that exceeds reality and achieves a rather transcendental position while adopting a role close to a town planner, engineer and architect: of a creator who redesigns the established order changing the status quo.

photo latamuda.files.wordpress.com

On the other hand, proposes “Inter-Actions” the relationship between humans and the environment and the use of natural resources by the inhabitants, in a series of fictional recreations of buildings grafted to the environment.

As a counterpoint to the natural environment Dionisio has created “Organograms” an insta-llation inspired by the contrast between the pace and the symphony that produce smoke and exhaust pipes of motorcycles in Hanoi (Vietnam) and the “Khene”, a Vietnamese traditional musical instrument. This “musical composition” is masterfully directed . . . by a robot. It is the first time that this work is exhibited in Spain.

Dionisio González’s work is therefore presented as a way of understanding space in its non-architecture in order to study the mechanisms of adaptation to it, a kind of scientist, alchemist or wizard. A sort of good intentions.

via yusto-giner.com and www.dionisiogonzalez.es

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Vincent Broquaire
Locked, 2012
Digital animation
Continuous loop

Created in 2011, the fair’s existence is simple, even necessary. “If you walk around a major fair you’ll see there’s very little video,” Moving Image co-founder Edward Winkleman told ARTINFO in a conversation shortly after they opened their doors on the morning of March 6. “We thought video was too difficult to show in most of the major fairs, so we developed Moving Image to experiment with the model.”

photo clampart.com

Nam June Park
Dog, 1995
Video sculpture, laser disc player
Continuous loop

“It costs next to nothing to do this fair compared to the average fair,” Winkleman added. “Most [gallerists] say it’s the easiest fair they’ve ever done, and it’s all intentional.”

The space has cleaned up nicely since its days as the infamous Tunnel nightclub, which closed down in 2001 as a result of then-mayor Rudy Giuliani’s quality-of-life campaign. The space is now a mini-mall catering to the rich, with luxury boutiques and a coffee shop, bearing no traces of its former life as a drug den for the bridge-and-tunnel crowd (unless you count Tessa Hughes-Freeland’s “Nymphomania” (1993), an important work of the Cinema of Transgression, which features a “sexualized satyr”).

Yves Netzhammer
Formal Conscience, 2013
Single-channel video
19:55 minutes

This amalgam of the past and the present is immediately apparent. Just a few steps away from a dog sculpture by Nam June Paik (widely considered one of the grandfathers of video art) isLeslie Thornton’s “Luna” (2013), a three-channel video that acts as a meditation on the cinematic image in the digital age. These works, and many more throughout the fair, engage in conversations through their visual language.

Leslie Thornton
Luna, 2013
Three-channel HD video (exhibited on three large vertically mounted monitors) in wooden structure
12 minutes

Daniel Canogar
Frequency, 2012
33 analog television screens, projector, video player
4:30 minutes

Nicholas & Sheila Pye
Trilogy, 2004-2007
Single-channel HD
video
35 minutes

The full lists of artists/exhibitors can be found here.

Moving Image New York 2014
© Etienne Frossard

- via BlouinArtInfo

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Whitney Museum of American Art, 945 Madison Avenue, New York, NY; Architect: Marcel Breuer and Hamilton Smith (1963–1966). Photograph by Jerry L. Thompson

As the preeminent institution devoted to the art of the United States, the Whitney Museum of American Art presents the full range of twentieth-century and contemporary American art, with a special focus on works by living artists. The Whitney is dedicated to collecting, preserving, interpreting, and exhibiting American art, and its collection—arguably the finest holding of twentieth-century American art in the world—is the Museum’s key resource. The Museum’s signature exhibition, the Biennial, is the country’s leading survey of the most recent developments in American art.

EI ARAKAWA & CARISSA RODRIGUEZ IN NEW YORK, JANUARY 2014. ON ARAKAWA: SHIRT: SANDRO. ON RODRIGUEZ: TOP: MILLY. STYLIST: VANESSA CHOW.
One of the most highly anticipated projects of this year’s Whitney Biennial is the collaboration between Ei Arakawa, the New York-based performance artist with a growing cult following, and Carissa Rodriguez, most familiar as a director of the Lower East Side gallery Reena Spaulings Fine Art.

“Hawaiian Presence” , by EI ARAKAWA & CARISSA RODRIGUEZ

Innovation has been a hallmark of the Whitney since its beginnings. It was the first museum dedicated to the work of living American artists and the first New York museum to present a major exhibition of a video artist (Nam June Paik in 1982). Such figures as Jasper Johns, Cy Twombly, and Cindy Sherman were given their first museum retrospectives by the Whitney. The Museum has consistently purchased works within the year they were created, often well before the artists became broadly recognized. The Whitney was the first museum to take its exhibitions and programming beyond its walls by establishing corporate-funded branch facilities, and the first museum to undertake a program of collection-sharing (with the San Jose Museum of Art) in order to increase access to its renowned collection.
The 2014 Whitney Biennial will take a bold new form as three curators from outside the Museum—Stuart Comer (Chief Curator of Media and Performance Art at MoMA), Anthony Elms (Associate Curator at the Institute of Contemporary Art, Philadelphia), and Michelle Grabner (artist and Professor in the Painting and Drawing Department at the School of the Art Institute, Chicago)—each oversee one floor, representing a range of geographic vantages and curatorial methodologies.

For the Biennial, Beasley plans to conflate his two practices, creating sculptures from concrete and fabric, each with a microphone buried within, so as to capture what he calls the object’s “internal architecture.”

Donna De Salvo, Chief Curator and Deputy Director for Programs at the Whitney, noted: “The 2014 Biennial brings together the findings of three curators with very distinct points of view. There is little overlap in the artists they have selected and yet there is common ground. This can be seen in their choice of artists working in interdisciplinary ways, artists working collectively, and artists from a variety of generations. Together, the 103 participants offer one of the broadest and most diverse takes on art in the United States that the Whitney has offered in many years.”

ABOVE: EMILY SUNDBLAD IN NEW YORK, JANUARY 2014. TOP: MIU MIU. STYLING: VANESSA CHOW. COSMETICS : CHANEL, INCLUDING SUBLIMAGE LA CRÉME. HAIR PRODUCTS: ORIBE, INCLUDING SMOOTH STYLE SERUM. HAIR: ANDRE GUNN FOR ORIBE/THE WALL GROUP. MAKEUP: KRISTI MATAMOROS FOR CHANEL/KATE RYAN INC. SPECIAL THANKS: TENTON STUDIO
For the Whitney Biennial, co-curator Michelle Grabner asked painter, gallerist, and musician Emily Sundblad to contribute a video.

This Biennial will be the last to take place in the Whitney Museum of American Art’s building at 945 Madison Avenue at 75th Street before the Museum moves downtown to its new building in the spring of 2015. This is the 77th in the Museum’s ongoing series of Annuals and Biennials begun in 1932 by Gertrude Vanderbilt Whitney.

You can see the full list of the exhibited artists by following this link.

The Whitney Museum of American Art’s 2014 Biennal includes Zoe Leonard’s camera obscura view of the street outside the museum.
Suzanne DeChillo/The New York times

“Aviarium, a sculpture series by Terry Atkins.

Clothing by Lisa Anne Auerbach

Detail of a wall of paintings by Keith Mayerson

An installation by Public Collectors with personal objects from Malachi Ritscher

via http://whitney.org/ and interviewmagazine.com

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Momentum consists of twelve pendulums that activate light and sound as they swing, drawing attention to the Curve’s vast arc, inviting you to journey through the space guided by your heightened senses. Each pendulum has been meticulously designed and built using steel, aluminium, and custom electronics. The sound is individual to each pendulum, prepared and tuned to seamlessly resonate as they move within the Curve.

Momentum creates an environment that has its foundations in detailed research, sophisticated computer technology and mechanical expertise. Yet, the effect is to create a space that feels wondrously transformed, one which you are invited to experience and explore.


United Visual Artists (UVA) is a London-based art practice founded by Matthew Clark, Chris Bird and Ash Nehru in 2003.  The studio combines a wide range of disciplines including architecture, computer programming and technology, engineering, sculpture, performance and design. UVA’s site-specific projects – sensual, absorbing and immersive – query received assumptions about space and time, combining rigorous research with a poetic vision that confounds expectations and alters perceptions of space.

Origin by United Visual artists constructed by Coachella

Focus, London

Focus, London

Vanishing Point

Vanishing Point

Volume, London

Volume, London

Volume, London

Volume, London

Volume, London

via uva.co.uk

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