Hello frends! I am an artist. My roots take place in St.Petersburg, which has great architecture, culture and history that influenced me once and forever. Today, in the times of technical progress, mass production and new artificial materials I search for inspiration in the foundation of the Arts - old Russian Orthodox icons, Renaissance and folk cultures. I seek out look for new shapes and images within my themes using different materials, but my favorite is glass for its plasticit... [more]
Human sounds of drinking, whispering, laughing, and singing surround the old British Army magazine building of the Sackler Gallery. They combine between the three parts of the video work Ribbons (2014), which is the central piece of Ed Atkins’ solo show. The voices are as memorizing and disturbing as the hyper-real 3D animated films they accompany.
The sound goes out of sync and back again; the three parts of Ribbons are similar and different at the same time. In all three, Dave, the avat... [more]
Santa Fe, Jul. 2014: Landscapes are solid, material, and stable masses. They are both a format of image and a type of content within an image that we register with familiarity, easily recognizable by the divisible line that categorizes land from sea, and terrain from sky. One part is always more ethereal than the other. The distinctive, and more concrete elements are part of our tangible purview, things we interact with, can touch. The formula of a landscape is a binary that depends on a complex... [more]
Paul Chan, born in 1973, is a child of his time. He has cast aside modernism’s Big Ideas and is free of any kind of canon. He refers just as easily to French philosopher Charles Fourier (1772-1837) as he does to hip hop star Jay-Z. The Old Testament, hardcore porn, Samuel Beckett, daytime TV, the Black Panthers, Guy Debord and his Society of the Spectacle—for Chan this is all source material of equal value and utility.
Chan is beyond postmodernism as well, though. He does not play non... [more]
The Happenstance 12
We few, we happy few, we band of brothers and sisters
This day is call’d the feast of the Salon des Refusés.He/She that outlives this day, and comes safe home,Will stand a tip-toe when this day is nam’d,And rouse him/her at the name of the Salon.She/He that shall live this day, and see old age,Will yearly on the vigil feast his/her neighbours,And say “To-morrow is Salon des Refusés Day.”Then will she/he open an album and show his/... [more]
Sifting through the biographical information sent to me by the gallery regarding the small (two works total) solo show by Canadian, Los Angeles-based artist Owen Kydd at Cooper Cole, I am unable to find a single page or press snippet that does not contain the information that Kydd studied under and worked for Jeff Wall. If one did not know Kydd's work, or the context in which the information was made available to me, it would be easy to mistake much of this written material as part of a project... [more]
Galerie Allen is a run by the Australian team of independent curator Joseph Allen Shea and artist Mel O'Callaghan, and is situated just west of Gare du Nord, in the tentatively gentrifying ninth arrondissement. These things are a departure from standard Paris format; they’ve eschewed the Marais, the (admittedly awful) left bank, and the more obvious cluster of new galleries centered in Belleville. Plus, there’s the involvement of an artist. The space itself is also something of a hyb... [more]
In Rati Chakravyuh, filmmaker Ashish Avikunthak presents several conceits. A single take of 102 minutes in a 105-minute film, screened as a very large projection at Chatterjee & Lal, has Rati, the Goddess of Love in Hindu mythology explored as the notion of desire through the ages, and Chakravyuh (a military formation mentioned in the Hindu epic Mahabharata that consists of a labyrinth of concentric circles) used as a defense mechanism. It’s a gauntlet that Avikunthak throws down from the sta... [more]
In the heart of the famous M50 contemporary art district in Shanghai, between the two ShanghART gallery spaces, is the Chronus Art Center (CAC), the first non-profit organization in China for new media art. Founded in the autumn of 2013 by entrepreneur Dillion Zhang, independent curator Li Zhenhua, and new media artist Hu Jieming, the center focuses on the experimentation, production, exhibition and education of video art and interactive art and technology. Its third show on site is an ambitiou... [more]
When I think of Midnight Movies I timeslip to the early 90s and all-nighters at the Scala in London's Kings Cross. The imagery is that of The Trip, Eraserhead, Vanishing Point, and Blue Sunshine. The aroma is of popcorn and hashish, the taste—cheap stimulants and vodka. I think of a motley crew of film geeks and freaks who have stumbled out of the pub at closing, dashed to the off license, and now gather inside the crumbling flea pit for an all night fix of kitsch, action, and high weirdn... [more]
Me and You and Everyone We Kind of Know: Made in L.A. 2014 by Christina Catherine Martinez Juan Capistran, Danielle Dean, Harry Dodge, Lecia Dole-Recio, Public Fiction, Kim Fisher, Judy Fiskin, Magdalena Suarez Frimkess, Michael Frimkess, Mariah Garnett, Samara Golden, Piero Golia, Tony Greene, Marcia Hafif, Channing Hansen, Jibade-Khalil Huffman, Barry Johnston, Gerard & Kelly, Devin Kenny, Gabriel Kuri, Caitlin Lonegan, Tala Madani, Max Maslansky, Emily Mast, Jennifer Moon, Brian O’Connell, Harsh Patel, Marina Pinsky, KChung Radio, Sarah Rara, A.L. Steiner, James Kidd Studio, Ricky Swallow, Clarissa Tossin, Wu Tsang at Hammer Museum
June 15th - September 7th
Comedian Emily Joyce, dressed in a 14th-century bonnet and dress, rolls her eyes, hard. Sticking her thumb out in a gesture of one-dimensional 1990s sarcasm, she paces KCHUNGtv's makeshift set in the lobby of the Hammer Museum. The on-site camera editors are hushed. I walk in just as a big laugh is dying down.
“But seriously folks," she continues, "you gotta watch out who you're makin' out with these days ‘cause we got this Black Plague going around. Nothing more embarrassing than h... [more]
I have about a year left with school at Parsons in New York City, and I have put more energy into learning about grids than paint. Although the upside is also knowing about my new favorite, digital illustration. I have finally take a summer off to get back into my art work with over two years worth of ideas to start creating. I am excited to go to Art Basel in Base Switzerlandl this year to see the original birth place of Art Basel. Regardless of what other people think, I feel art is only on... [more]
This season, MOCA North Miami opened its doors to the touring exhibition of Wangechi Mutu’s first museum survey in the US. A Fantastic Journey, curated by Trevor Schoonmaker, Chief Curator and Patsy R. and Raymond D. Nasher Curator of Contemporary Art at the Nasher Museum of Art, features over fifty works across the artist's career from the 1990s to present. ArtSlant got a chance to sit down with Schoonmaker for the inside scoop on Mutu, the exhibition, and its impact on the contemporary arts.
White box art galleries are strange places for the uninitiated. Work is denied any visual context other than other artworks. People tend to talk quietly, if at all. Their interiors bear no relation to the world outside their doors. Brian O’Doherty discussed this problem in the 1970s in his book Inside The White Cube: “In this context a standing ashtray becomes an almost sacred object”.
Galleries have in the past few years introduced more "offsite" exhibitions to tackle this, but the n... [more]
I didn’t know what to expect as I entered MOTInternational for Laure Prouvost’s first solo exhibition in Belgium. I knew the artist by reputation and by some of her videos I’d viewed outside the context of their installations—but that did not prepare me for seeing her work in situ. The French born, London-based artist, most recently celebrated for winning the Turner Prize for her installation Wantee (2013), is known for stepping away from linear narratives, unhinging common... [more]