Charlemagne Palestine. GesammttkkunnsttMeshuggahhLaandtttt

”American-born Charlemagne Palestine is a composer, musician, performer and visual artist. Already in the 1970s he composed repetitive music that clashed with the expectations of Western audiences. His early works were mostly compositions for glockenspiel and electronic musical instruments, but his best-known works are his piano pieces in which short sequences are repeated endlessly and variations appear only gradually. Although he was linked to musicians such as La Monte Young, Terry Riley, Philip Glass and Steve Reich, he rejected the minimalist label and instead created the term “maximalism” for his compositions.

In the 1970s, Palestine also produced a series of psychodramatic video works in which he activated the body through a symbiosis of sound and movement and gave expression to inner qualities. He often took his explorations to a point of physical and mental exhaustion. His performances and music videos repeatedly feature emblematic objects such as teddy bears, cognac bottles or scarves, which function as signatures and become “identification symbols”. In recent years, Palestine has worked chiefly with musicians such as Pan Sonic, David Coulter, Tony Conrad and Michael Gira. He has issued more than twenty solo albums and played at festivals throughout the world.”

Curator: Luca Lo Pinto

for more information please visit kunsthallewien.at

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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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September 25 2015 – January 10 2016

This exhibition surveys recent work by internationally-renowned artist Do Ho Suh. Suh creates architecturally scaled, fabric installations informed by his personal experiences, that recreate specific domestic spaces where he has lived, including his childhood home (a traditional hanok-style Korean house), a house in Rhode Island where he lived as a student, and his apartment in New York.

Suh weaves translucent structures made of monochrome polyester, at once architectural, and ephemeral, inviting viewers to wander through their dreamlike interior passageways (often complete with details such as light switches and door handles). In addition to these large scale installations, this exhibition presents Suh’s Specimen Series, fabric replicas of radiators, ovens, refrigerators and bathtubs, rendering these common household appliances luminous and transparent. MOCA Cleveland will also present works from Suh’s Rubbing/Loving Project, large scale rubbings in which the interior textures and details of the artist’s New York apartment are directly transferred onto paper. Suh is particularly influenced by his move from South Korea to the United States in 1991. His works highlight the porous boundary between public and private space as well as notions of global identity, space, nomadism, memory, displacement, and the meaning of home.

for more information please visit lehmannmaupin.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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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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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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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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photo numen.eu

photo numen.eu

photo numen.eu

photo numen.eu

photo numen.eu

via numen.eu
 

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She has a strong connection to the UK, undertaking her ceramics conservation training at West Dean College in West Sussex. She also completed an internship in the ceramics conservation lab at the Victoria and Albert Museum. She then went on to work for Plowden and Smith in Wandsworth before returning to Australia where she is now a highly sought after conservator working for many top institutions including The National Gallery of Victoria, Heritage Victoria, the Museum of Victoria and members of the Ceramics and Glass Circle of Australia.

She has completed a Bachelor of Laws (LLB), La Trobe University, Melbourne 1997, a Graduate Diploma (Ceramics and Glass Conservation and Restoration), West Dean College, United Kingdom, 1990, and a Bachelor of Art (Fine Art Ceramics) at RMIT University in Melbourne, 1987.

She has exhibited internationally and extensively in Australia. Solo exhibitions include iPROTEST, Art Basel Hong Kong (2013), Political Porcelain, Museum of Australian Democracy, Old Parliament House, Canberra (2011/12), Life is a Riot, Albury Library Museum, Albury, NSW (2012) and Penny Byrne: Commentariat, a Deakin University touring show (2011/12).

Byrne’s work is currently featured in the exhibition Melbourne Now at the National Gallery of Victoria (2013/2014).

In 2010 Byrne was the subject of a documentary for the ABC TV program Artscape.

Her work is held in numerous public and private collections in both Australia and internationally.

Photo: artnau.com

Photo: artnau.com

Photo: artnau.com

Photo: artnau.com

Photo: artnau.com

Photo: artnau.com

Photo: artnau.com

Photo: artnau.com

Photo: artnau.com

Photo: artnau.com

Photo: artnau.com

Photo: artnau.com

Photo: artnau.com

Photo: artnau.com

Photo: artnau.com

Future exhibitions:
Fehily Contemporary
Penny Byrne, Felled (After the Dying Gaul)
9 October to 1 November
Opening Saturday 11 October, 3 to 5pm

3a Glasshouse Road
Collingwood, Victoria
Melbourne, Australia

via artlyst.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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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
Biography download
Bibliography
Images
Press
Hauser & Wirth exhibitions
Selected Publications
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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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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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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photo blouinartinfo.com

Venet acquired the 10-acre site in 1989 as a private enclave, but as the artist received requests from fans wanting to visit, he realized that “this thing should last forever.” In addition to the permanent outdoor installations, temporary exhibitions will be on view in a gallery designed by Paris-based architects David Llamata and Charles Berthier and built in 2003, as well as in the converted mill.

photo blouinartinfo.com

New to the setting is the Frank Stella Chapel, recently designed by Stella himself as a showcase for six 14-by-8-foot composite reliefs. “I saw the pieces in his studio and proposed an arrangement,” says Venet, describing the sort of deal-making that fostered most of his acquisitions.

For his part, Venet will contribute Effondrement d’arcs, 2014, made of some 200 tons of steel. “Works of art belong to those who look,” says Venet. That’s a big lesson in value.

photo blouinartinfo.com

photo blouinartinfo.com

photo blouinartinfo.com

via blouinartinfo.com

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February 8 – April 19, 2014

Matthew Marks Gallery

Simple yet explanatory, Sculpture is Matthew Marks Gallery’s current exhibition, bringing together the most recent three dimensional works by artists Katharina Fritsch, Robert Gober, Jasper Johns, Charles Ray, Ellsworth Kelly and Martin Puryear. Adopting the newest in the medium as its main concept, this group exhibition presents an opportunity for gallery goers to view and compare current modalities in the art of sculpture.

photo peupledepapier.blogspot.ro

Katharina Fritsch had her first one-person exhibition in the United States in 1993, at the Dia Center for the Arts. There she debutedRattenkönig (Rat King), her work in which sixteen 12-foot-tall black rodents face outward in a circle, towering over the viewer, their tails bound together in a giant knot. Like all of Fritsch’s work, Rattenkönigis simultaneously seductive and unnerving. She often transforms quotidian objects or ordinary-looking figures into something new and strange through repetition and manipulation of scale and color. Her sculptures are the result of a time-consuming process: a piece is usually molded by hand, then cast in plaster, reworked, and then cast again in polyester.

photo artbasel.insideguidance.com

photo nbk.org

photo katherina frisch1

Fritsch was born in Essen, Germany, in 1956. She represented Germany at the 1995 Venice Biennale and has had one-person exhibitions at the Kunstmuseum Basel, the San Francisco Museum of Modern Art, the Art Institute of Chicago, Tate Modern in London, and K21 in Düsseldorf. A retrospective exhibition of her work was held in 2009 at the Kunstmuseum Zürich, which traveled to the Deichtorhallen Hamburg. Most recently, the Mayor of London’s Fourth Plinth Commissioning Group invited Fritsch to create the sculptureHahn/Cock for Trafalgar Square. The sculpture was unveiled in the summer of 2013 and will be on view until early 2015. Fritsch has been represented by Matthew Marks Gallery since 1994. She lives and works in Düsseldorf.

photo hellomagazine.com

photo matthewmarks.com

photo matthewmarks.com

photo matthewmarks.com

photo matthewmarks.com

More at http://www.matthewmarks.com/new-york/exhibitions/2014-02-08_sculpture/

via artobserved.com, matthewmarks.com

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Her early paintings, from the late 1980s and early ’90s, are spare gestural compositions that at times recall Mark Rothko’s work or, more closely, the Zenlike, brushy late abstractions of Hans Hartung. Attracted to shaped canvases and unconventional materials, Grosse experimented with unusual painting supports ranging from found objects to a lightweight resin material used for surfboards. In some sense her work is akin to postwar movements such as the French Supports/Surfaces, in its approach to abstract-painting-as-object, as well as Arte Povera, in its use of abject materials.

Grosse’s art blossomed and her career took off when, in 1998, she began adding passages of spray paint onto canvases and directly onto gallery walls. Growing increasingly bold and elaborate over the past decade, Grosse’s large-scale installations, which she has been invited to produce in many parts of the world, have brought her significant notice. Her first in the U.S., at the Hammer Museum in Los Angeles, in 2001, was widely praised in the art press, as were subsequent exhibitions at the Contemporary Arts Center, Cincinnati (2006), and the Renaissance Society in Chicago (2007).

Katharina Grosse, “I Think This Is a Pine Tree” (2013) at Berlin’s Hamburger Banhof Museum for Contemporary Art

“
just two of us’ is the latest installation by german artist katharina grosse for metrotech commons in downtown brooklyn, new york. the immersive sculpture transforms the existing park plaza into an engaging architectural landscape, characterized by towering, vibrantly-colored forms piercing the earth. eighteen fiberglass-coated shapes have been configured around trees, creating two large irregular formations within the existing environment. the neon-chroma serves as a manifestation of the cultural dynamism of the eclectic, multi-cultural neighborhood and reconfigures the urban space into an striking sculptural intervention. ’just two of us’ is presented by the public art fund whose focus is on art in the public sphere. the artwork, and it’s relationship to the space is iterated by nicholas baume, public art fund director & chief curator: ‘katharina grosse’s hybrid approach to painting and sculpture feels very natural in the context of a public space at the center of a thriving urban area where culture, technology, and innovation intersect.’

katharina grosse sculpts colorful terrain in brooklyn
katharina grosse, just two of us, 2013 

“I Think This Is a Pine Tree” is on display at the Hamburger Banhof Museum of Contemporary Art in Berlin through August 2014.

“Just two of us”, Metrotech Commons, Downtown Brooklyn, now through september 14th, 2014.

- via www.katharinagrosse.com

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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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That’s an interesting question… the visual language that I express through my works is not something I’ve been searching for. It’s something that came natural for me. Even expressing myself in different media the same visual language comes to the surface every time. The way I create reflects my imagination and how I see the world.

photography by Jonas Lindström

If we look at your works, we see that some of them have a certain shape – fluid-like. How do you imagine these forms in the first place?

All the shapes I use in my work are object that we are surrounded by in our daily lives. I mainly collect objects in supermarkets, flea markets, party stores and on the street. I’m particularly interested in ambiguous shapes. For instance organic shapes that have a mass produced aesthetic. I’m really fascinated by this contradiction and friction within these objects.

photography by Jonas Lindström

The mask, at the beginning, was used mainly for ceremonies, disguise, for performance and entertainment. How are your masks used?

I’m really fascinated by tribal masks and traditional headgear and science fiction helmets. I never imagine before hand for who or what my objects are made for. My objects are not literally functional in that sense. I’d rather leave that to the viewer’s imagination.

How does one of your wearable works transform the person who wears it?

The objects I create are an extension of the body.

I’ve noticed that you like to mix baroque elements with contemporary ones, for example, as if there was a melting process. Can you tell us a little more about this process?

As I’ve mentioned… I collect a lot of objects. These objects come together in my studio. I call it the cabinet of rarities. From there I start creating… I cut, glue and assemble the objects together and transform them in to new shapes. It’s a really visceral process. A process of demolishing an recreating. The final shape gets covered in a layer of epoxy. This gets sanded in polished many times until it has the ‘perfect’ shape. Finally the object gets covered in several layers of paint and finished in a thick layer of lacquer.

photography by Jonas Lindström

Is there a story behind masks? If so, can you give us an example?

I don’t have a clear story with every series of pieces I create. But they are inspired by and built out of several elements that speak to my imagination. For instance I created a series of works based on insects, medieval armor and car parts.

How long do you work on one of your wearable works? Do you work alone or you have a team that helps you? Do you have an assistant? Who helps you with the production?

Depending on the project… the production of a piece can vary from a weeks till several months. It depends how complicated the design is. I mainly work alone and rarely work with assistants. This because I’m a control freak and love to make a piece from the beginning to the end myself. I don’t reproduce any pieces simply because it’s boring and I don’t like to repeat myself. I do reflect but my work is evolving all the time.

Your works are unconventional. How do they fit in the program of a gallery? Also, how do you present them: as pictures, as objects, using models?

I don’t show my wearable objects in a gallery that often. I think they function better within the context of theatre, contemporary dance or performance art. I also collaborate with pop musicians. I think it’s great to show my work outside the of a sterile environment of gallery and museum. In this way art becomes easier accessible and available for everyone… as it should be in my opinion.

copyrights Rein Vollenga

It is clear that you are interested, if not fascinated, by the human body. Why is that?

I don’t know… It just feels very primal to me… I’ve always been fascinated by transformation and ambiguity.

You like to collaborate with other artists. I mention here Mugler, Lady Gaga and New Power Studio. How was it to work with them, since your artistic areas are different?

It’s really nice to have interaction with other artists… everybody has his own precious skills and ideas. In a good collaboration you invoke each other. This might bring you out of your comfort zone and challenges you to create and experience new things.

copyrights Rein Vollenga

Your divide your works into Wearable and Sculptures, you exhibit in galleries, and at the same time your works are present on catwalks and in videos, your works seem to cross boundaries between artistic areas. If you were to work in another medium (artistic or not), what would you choose and why?

I would love to be a professional dancer, singer / performance artist. Simply because I love dancing… it’s really physical and pure. Right now I only dance when I’m clubbing… I’m not a bad dancer… but my moves are just coupled from hip hop videos. Unfortunately I’m not good with choreography.

Which contemporary artists you appreciate? Why?

Berlinde de Bruyckere, beautifully crafted and emotionally very intense work.

How would you describe your art? And which was the most unexpected thing someone said about your works?

I don’t like to describe my work, I like to leave that to the imagination of the viewer. I am aware that I can influence the way how people perceive or see the object I create… but I don’t want to teach or dictate anything.

photography by Jonas Lindström

​I imagine that you draw your inspiration from somewhere. What are you inspired by at the present moment?

Right now I’m fascinated by natural structures stones, sea shells. I’m also doing a lot of research about birds of prey.

Do you have a clear direction about the following years regarding your artistic vision or are you open to new things that would shift your plans?

I’m always open to new things. In the future I’d like to focus on working with contemporary dance groups, opera and theatre. I would love to work on stage design and costumes for a big production.

We can’t wait to hear which are the projects you take part in at the present moment, so do tell us.

Right now I’m collaborating with an American pop musician, unfortunately I can’t reveal more yet.

Thank you! We’ll keep an eye on your work!

photography by Jonas Lindström

photography by Jonas Lindström

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Glass Microbiology is a body of glass work which has been developed by artist Luke Jerram since 2004. Made to contemplate the global impact of each disease, the artworks are created as alternative representations of viruses to the artificially coloured imagery received through the media. In fact, viruses have no colour as they are smaller than the wavelength of light. By extracting the colour from the imagery and creating jewel-like beautiful sculptures in glass, a complex tension has arisen between the artworks’ beauty and what theyrepresent.

The Glass Microbiology sculptures are in museum collections around the world, including The Metropolitan Museum, NYC, The Wellcome Collection, London and The Museum of Glass, Shanghai. They are also regularly displayed in exhibitions around the globe and also sold to private collectors. In 2010, Jerram received the 25th Rakow Award for the series from The Corning Museum of Glass, New York. In 2009, his sculptures were presented at The Mori Museum, Tokyo along with work by Damien Hirst, Warhol and Leonardo da Vinci.

His transparent and colourless glassworks consider how the artificial colouring of scientific microbiological imagery, affects our understanding of these phenomena. See these examples of HIV imagery. If some images are coloured for scientific purposes, and others altered simply for aesthetic reasons, how can a viewer tell the difference? How many people believe viruses are brightly coloured? Are there any colour conventions and what kind of ‘presence’ do pseudocoloured images have that ‘naturally’ coloured specimens don’t? How does the choice of different colours affect their reception?

Photographs of Jerram’s glass artworks are now used widely in medical journals, text books and media stories and are seen as useful representations of virology within the scientific community. His work has been presented in the Lancet, the British Medical Journal and on the front cover of Nature Magazine.

The sculptures are designed in consultation with virologists from the University of Bristol, using a combination of different scientific photographs and models. They are made in collaboration with glassblowers Kim George, Brian Jones and Norman Veitch.

via lukejerram.com

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photo verginer.com

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photo verginer.com

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Operating in the fields of design, fashion & architecture, Studio Swine has worked with Veuve Clicquot, Swarovski & Droog. Studio Swine has exhibited at the Barbican, V&A, New York & London Fashion Week and Gwangju Biennale curated by Ai Wei Wei. Swine has received international awards including the Gold Prize at BIO23 Biennale of Design Slovenia, Wallpaper* Design Award and recently nominated for Designs of the Year Award 2013 at the Design Museum London.

This year, you can still catch a glimpse of their work at :

19 October – 12 January 2014

Design Center Malmö, Sweden

1st Shanghai Design Exhibition

30 November – 30 March 2014, Shanghai, China

Design Miami

4 – 8 December, Miami, USA

Studio Swine’s ‘São Paulo Collection’ has been designed and made in São Paulo, Brazil.

Inspired by the Brazilian tropical modernism of the 1950’s Swine has transformed waste materials sourced from the city into a luxury design collection. São Paulo is known in scrap metal circles as the ‘Aluminium Capital’, collecting and recycling more cans than anywhere else in the world. The material’s potential has been explored through sand casting with the naturalistic details captured in the cactus coffee table, and the contemporary abstracted palm pattern in the lounge chair.

The bottle bulbs are a lighting pieces made from beverage bottles that have been heated and re-blown into a eclectic collection of organic forms without the conventional recycling process where the glass is broken down into cullet first. This results in a clearer higher quality glass requiring less energy and retaining some mark of the previous industrially manufactured form. The bulbs are fitted with customised brass fittings and LEDs.

‘São Paulo Collection’ was made for Coletivo Amor de Madre Gallery with the kind support of Heineken.

- text and illustration via www.swinestudio.com

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He affirmed that in his first solo exhibition, 5 years of strenuous work was displayed and in his second exhibition, he used ideas that were cultivated since 2000 and labor-intensively finished his work after two years. In this Venice Biennale, ‘The Objectuals’ series and ‘Animatus’ series along with a new piece of artwork are all going to be shown. At the same time, memos, drawings, materials, bone fragments and the documentations of his working process with new film work which will compliment the two series will be on display. Also, a performance on the opening day of the Korean pavilion is scheduled. He got us curious for it and of the happening as he implied serene things might be more impressive.

Cartoon characters are fictional anthropomorphic creatures living in a two dimensional zone. They are both residing in situations much like our own and representing personalities, behaviors and thoughts of their creators which are human beings. The scientific analysis of these characters and reconstructing them into the three dimension is what the artist called, ‘the process of research in finding the potential or hypothetical anatomic evidence absent of figural proof(excerpt from artist’s notes)’. With his biological background, Lee poses the skeletons that is a symbol of dead bodies in a dynamic posture and ironically plays god giving a new life to the dead bodies. Lee restores the real shape of characters like Tom and Jerry, Bugs Bunny, Donald Duck, Coyote and classifies these creatures into Latin scientific names according to the biological categorization hence combines it with ‘Animatus’ a Greek world referring to ‘Breathe life into something’ and ‘make enliven’. This makes certain the birth of the creatures and the existence of the creator.

In this exhibition as a special feature covering all aspects of his own world of art, he planed to hide the inspiration of his works up to now and clues about his subsequent series. If we have experienced the virtual reality through transformed images of the body and restored skeletons of characters in his previous solo exhibitions, at this time, we might feel walk in to the three dimensional genuine world realizing his unique imaginative power.

A quick anatomy lesson to review your classic about cartoons: Bugs Bunny, Road Runner and Coyote, Huey Dewey and Louie, Goofy, Mickey, Tweety, Tom and Jerry and others. Skeletons are made of resin on an aluminum structure.

- via artinasia.kr

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Creating a spectacular and invasive Gordian Knot, Henrique Oliveira plays with Palais de Tokyo’s architecture, allowing a work that combines the vegetal and the organic to emerge. The building itself becomes the womb that produces this volume of “tapumes” wood, a material used in Brazilian towns to construct the wooden palisades that surround construction sites.

In the form of paintings, sculptures or installations, the hybrid art of Henrique Oliveira (b. 1973, lives and works in São Paulo) evokes both the urban and the vegetable, the organic and the structural, as well as art and science, through compositions in which the unexpected generates a universe tinted with the fantastic.

Through a kind of architectural anthropomorphism, Henrique Oliveira reveals the building’s structure. At Palais de Tokyo, he plays on the space’s existing and structuring features, prolonging and multiplying pillars in order to endow them with a vegetable and organic dimension, as though the building were coming alive. The artist draws inspiration from medical textbooks, amongst others, and particularly from studies of physical pathologies such as tumors. Through a formal analogy, these outgrowths evoke the outermost layers of the bark of a common tree. The texture of this wooden tapumes installation inevitably calls to mind certain tree essences from Amazonian, humid tropical forests: the rivulets and other nodes constitute uncontrollable networks, in a logic that Man can no longer suppress.

-via dezeen.com

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The means used belong exclusively to art—landscape painting, the chiseling and carving of sculpture, representation and collage. And despite the close relationship Arsham maintains with architecture and landscape, he always maintains a certain distance, thus ensuring a kind of continuity between his art and more traditional forms. We are witnessing a process in which art remains within its limitations, its codes, its mediums, and production and fabrication spaces. Arsham doesn’t venture into the landscape, nor does he intervene in terms of architecture. Instead, he senses, then harnesses the outdoors and brings it into his own personal venues of expression. He borrows from architecture and landscape as did, according to Japanese tradition, those who designed gardens and created the impression of expanding space by incorporating a faraway perspective, a temple, a mountain or a tree.

In adopting this approach, Arsham sees the schism as the crucial cog in his relationship to architecture—a relationship initially based on attraction, and then on repulsion. He attracts, captures, and integrates architectural constituents, then gradually pulls away by staging a kind of destruction. Through upheaval, intentional erosion and engulfment by a luxuriant nature reasserting its supremacy, the collapse of structures that have been ingeniously constructed highlights the triumph of the forces of art over architectural rationality. Art defies the cohesion of the architectonic structure when a column splits in two; defies the integrity of its image when an entire section of a facade collapses ; defies the continutity of the layout when unity of volume fragments in the set Arsham designed for Merce Cuningham.

Ensconced in vegetal proliferation, the “architectones” trigger aesthetic emotions brought on by classical ruins, such as melancholy, or a certain notion of the sublime borne by the impression of an impassive invasion, by nature’s slow and gradual labor. But most striking is the apparent longevity of architectonic forms, of geometry, of immaculate white. We see a ruin, but there is no erosion ; a ruin without the violence of contemporary destructive phenomena, whether natural or intentional. For evidently, these works coexist with the everyday tragedies imposed by the violence of terrorism, wars, natural catastrophes, urban development of major cities. But here everythings exudes a sense of slowness, the absence of conflict, of peace.

So it is definitely in this way that Arsham lays down the contours of a politico-cultural context that finds, in the forms created, a visual echo imitating, underscoring and exaggerating reality, even if indirectly.

DANIEL ARSHAM
“Five Crystal Eroded Payphones” 2013
Crystal, shattered glass, hydrostone / Cristal, verre brisé, hydrostone
24 x 81 x 9 inches / 61 x 205 x 23 cm
unique Credits: http://www.perrotin.com/

DANIEL ARSHAM
“Steel Eroded Polaroid” 2013
Steel fragments, shattered glass, hydrostone / Fragments de métal, verre brisé, hydrostone
6 x 5 1/8 x 6 inches / 15,5 x 13,5 x 15,5 cm
unique Credits:http://www.perrotin.com/

DANIEL ARSHAM
“Crystal Eroded Toy Phone” 2013
Crystal, shattered glass, hydrostone / Cristal, verre brisé, hydrostone
15 x 8 x 8 inches / 38 x 20,5 x 20,5 cm
unique Credits: http://www.perrotin.com/

DANIEL ARSHAM
“Pixel Cloud (Miami)” 2010
Plastic, paint / Plastique, peinture
35 1/2 inches x 8.6 feet x 55 1/4 inches / 90 x 260 x 140 cm
unique Credits: http://www.perrotin.com/

DANIEL ARSHAM
“Six erosions to the center (3)” 2010
Foam, plaster, paint / Polystyrène, plâtre, peinture
48 x 48 x 48 inches / 122 x 122 x 122 cm
unique Credits: http://www.perrotin.com/

DANIEL ARSHAM
“Crystal Eroded Movie Camera” 2013
Crystal, shattered glass, hydrostone / Cristal, verre brisé, hydrostone
19 1/2 x 29 1/2 x 9 1/2 inches / 49,5 x 75 x 24 cm
unique
Credits:http://www.perrotin.com/

DANIEL ARSHAM
“Ash Eroded 16mm Film Projector” 2013
Volcanic ash, shattered glass, hydrostone / Cendres volcaniques, verre brisé, hydrostone
26 x 31 x 10 inches / 66 x 78 x 25 cm
unique Credits: http://www.perrotin.com/

DANIEL ARSHAM
“#FUTUREARCHIVE”

20/11/2013 – 21/12/2013

HONG KONG – 50 CONNAUGHT ROAD CENTRAL

-via perrotin.com

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