ArtSlant - Openings & events en-us 40 Florian & Michaël Quistrebert - Galerie Juliètte Jongma - October 29th 5:00 PM - 7:00 PM Tue, 25 Oct 2016 17:55:12 +0000 Fabian Bechtle, Adriana Ramic - Witte de With Center for Contemporary Art - November 10th 7:00 PM - 9:00 PM <p>&lsquo;Rome Was Built For A Day&rsquo; sees the archive through two commissions by Fabian Bechtle and Adriana Ramić. Adriana Ramić perplexes anthropomorphism and uses a computer program, informed by data from Witte de With&rsquo;s archive, to create texts to which her works respond. Consequently, a fictitious exhibition emerges, employing a certain brutalism of bureaucracy. Fabian Bechtle documents the invisible changes that are concealed by the outward set-up. The camera pats down shelves, boxes and items, resembling the current archive, yet presenting the future or the past.&nbsp;</p> Fri, 07 Oct 2016 13:17:31 +0000 Lucile Desamory - Ellen de Bruijne Projects - November 12th 5:00 PM - 7:00 PM Tue, 25 Oct 2016 18:14:25 +0000 Jeremiah Day - Ellen de Bruijne Projects - November 12th 5:00 PM - 7:00 PM Tue, 25 Oct 2016 18:14:33 +0000 David Maljkovic - Annet Gelink Gallery - November 18th 5:00 PM - 7:00 PM Tue, 25 Oct 2016 17:43:59 +0000 Berend Strik - Galerie Fons Welters - November 25th 5:00 PM - 7:00 PM Tue, 25 Oct 2016 18:16:36 +0000 Isaac Julien - Galerie Ron Mandos (Amsterdam) - November 25th 5:00 PM - 10:00 PM <p style="text-align: justify;"><strong>Galerie Ron Mandos is proud to present an exhibition about Isaac Julien&rsquo;s seminal poetic film <em>Looking for Langston</em> (1989). The series is an homage by acclaimed artist Isaac Julien (1960, London) to poet and writer Langston Hughes and the Harlem Renaissance. The exhibition includes archival and historic material that informed the creation of the film project and a newly restored analogue 16mm film. This early award-winning screening is accompanied by photographic work, that explore the fractured narratives of memory and desire.</strong></p> <p style="text-align: justify;"><em>Looking for Langston</em> honors American poet and writer Langston Hughes (1902-1967). With his poems Hughes fought for awareness and empowerment of the Afro American's community and against racism and discrimination. It is commonly presumed that he was gay. He never openly came-out. The central question in the film for Julien was how to portray Langston Hughes as a cultural icon and, in terms of dealing with a repressed gay desire what that would mean. He explores the ambiguous sexual subtexts of a period of rich artistic expression, and the enduring cultural significance of these pioneers&rsquo; work.</p> <p style="text-align: justify;">Julien mediates with a cheerful perspective on Langston Hughes coming out. The exhibition shows a strong-minded film and photography that juxtapose the past and the present.The Harlem Renaissance was a flowering of African-American social thought that was expressed through arts in the twenties.Extracts from Hughes' poetry are interwoven with the work of cultural figures from the 1920s and beyond, including black poets Essex Hemphill and Bruce Nugent, constructing a lyrical and multilayered narrative. An interesting aspect of Looking for Langston is the controversy surrounding it. Though Julien contrasts the present with this elegant past - the voiceover references the ravages of AIDS which were at its height during filming - the work showcases a serious comment evaporated in its hazy look.</p> <p style="text-align: justify;">While Julien was directing the film, he studied the photographs of James Van der Zee, George Platt Lynes and Robert Mapplethorpe. Working with Nina Kellgren (cinematographer) and Sunil Gupta (photographer), he created three photographic series. These photographs deploy an array of old and new technologies. For Julien, the photographs act as memorial sites. One can see a direct relation between these images imbued with references to the history of 1930s black and white African American photography and 1980s queer cultures.&nbsp;</p> <p style="text-align: justify;"><em>The film Looking for Langston has won at least half a dozen international awards. Julien studied painting and fine art film at St Martin&rsquo;s School of Art. Having taught at Harvard University, Julien is currently a member of faculty at the Whitney Museum of American Arts and Professor of Global Art at the University of the Arts, London. Julien&rsquo;s work is in many important public and private collections including Tate Modern, London; Centre Pompidou, Paris; MoMA, New York; Los Angeles Museum of Contemporary Art; Guggenheim Museum; the National Museum of Norway; Goetz Collection; Louis Vuitton Art Foundation; the Zeitz Foundation amongst others. Also he has won many awards including the Golden Gate Persistence of Vision Award (2014); Performa Award (2008); MIT Eugene McDermott Award in the Arts (2001); Frameline Lifetime Achievement Award (2002). Julien was nominated for the Turner Prize for his works The Long Road to Maz&aacute;tlan and Vagabondia (2001).</em></p> <p style="text-align: justify;"><strong>OPENING</strong> during&nbsp;<a href="" target="_blank">Amsterdam Art Weekend</a>&nbsp;Friday, November, 25, 5 &ndash; 10 pm</p> Tue, 25 Oct 2016 18:20:23 +0000 Jordan Wolfson - Stedelijk Museum - November 27th 10:00 AM - 6:00 PM <p class="p1" style="text-align: justify;">This autumn, the Stedelijk Museum will present Jordan Wolfson (New York, 1980), one of the most outspoken representatives of a new generation of artists who explore the increasing digitalization of society and other technological developments.</p> <p class="p1" style="text-align: justify;">The solo show is conceived as a diptych and will occupy the upper galleries of the new wing. Part one is on view from November 27 to February 5, and the second chapter opens on March 4, 2017. Both presentations revolve around Wolfson&rsquo;s spectacular animatronic creations: robotic human figures, seductive yet repulsive, which interact with the viewer using motion sensor technology. The exhibition also includes video works and digital paintings. This is Wolfson&rsquo;s first solo presentation in the Netherlands, and is set to open during&nbsp;<a href="" target="_blank">Amsterdam Art Weekend</a>.</p> <h3 class="p1" style="text-align: justify;">Part 1: MANIC / LOVE</h3> <p class="p1" style="text-align: justify;"><strong>Nov. 27, &nbsp;2016 &ndash; Feb. 5, 2017&nbsp;<br /></strong>The exhibition begins with&nbsp;<em>Colored sculpture</em>&nbsp;(2016), Wolfson&rsquo;s latest animatronic artwork, which is based on the legacy of American pop culture. Wolfson&rsquo;s work strips back the glossy veneer of the American dream to expose the darker side lurking beneath. The robot&rsquo;s red hair and freckles recall pop cult characters like Huckleberry Finn, Howdy Doody, and Alfred E. Neuman, the Mad magazine mascot. The boy&rsquo;s movements are controlled by a computer program as he dangles from heavy chains attached to a steel gantry. The figure floats effortlessly through the space before being thrown bodily to the floor. From time to time, the boy attempts to establish contact with the viewer, but he can never break free from the software which subjects him to torments that viewers experience on an almost visceral level.</p> <p class="p1" style="text-align: justify;">The relentless physicality of the gallery-scale installation suffuses the work with a sense of violence and unpredictability. With his sculptures, Wolfson merges the boundaries between abstraction and figuration, challenging the formal and narrative potency of the sculptural discipline.&nbsp;</p> <p class="p1" style="text-align: justify;"><em>Colored sculpture</em>&nbsp;is presented alongside a selection of video works and digital paintings. One of the highlights is the video&nbsp;<em>Raspberry poser&nbsp;</em>(2012), which features a world populated by a medley of Disney-like cartoon characters, mutating red blood cells, a peripatetic condom, images from art history, and a punk, played by the artist himself. A blaring soundtrack of pop hits, from Beyonc&eacute; to Roy Orbison, melds the images into a cohesive, disturbing narrative.</p> <p class="p1" style="text-align: justify;">The solo show also features Wolfson&rsquo;s wall mounted digital paintings. These pristinely painted montages containing a hint of Pop Art offer a strident pairing of words and images borrowed from wildly divergent origins. Several of the captions echo the texts found on bumper stickers: horizontal bands printed with punchy, witty, religious, or political messages attached to the rear bumpers of American automobiles.</p> <hr /> <p class="p1" style="text-align: justify;">Het Stedelijk presenteert dit najaar de Amerikaanse kunstenaar Jordan Wolfson (1980), een van de meest uitgesproken vertegenwoordigers van een nieuwe generatie kunstenaars die reflecteert op de digitalisering van de samenleving en andere technologische ontwikkelingen.&nbsp;</p> <p class="p1" style="text-align: justify;">De solotentoonstelling is opgezet als een tweeluik in de bovenzalen van de nieuwbouw, het eerste deel is te zien van 27 november t/m 5 februari, op 4 maart 2017 opent deel 2. In beide presentaties staan Wolfsons spectaculaire animatronic wezens centraal; fascinerende maar ook angstaanjagende, door computers aangedreven mensfiguren, uitgerust met sensoren waarmee ze interactie aangaan met het publiek. Ook zijn er videowerken en digitale schilderijen te zien. Het is de eerste solotentoonstelling van Jordan Wolfson in Nederland, de opening vindt plaats tijdens het&nbsp;<a href="" target="_blank">Amsterdam Art Weekend</a>.</p> <h3 class="p1" style="text-align: justify;">Deel 1: MANIC / LOVE</h3> <p class="p1" style="text-align: justify;"><strong>27 nov 2016 t/m 5 feb 2017</strong>&nbsp;<br />De tentoonstelling opent met Colored sculpture (2016), Wolfsons nieuwste animatronic beeld dat is gebaseerd op de geschiedenis van Amerikaanse popcultuur. Met zijn werk laat Wolfson niet de glad gepolijste versie van de Amerikaanse droom zien, maar juist de donkere achterkant. Het rode haar en de sproetjes van Wolfsons jongetjesrobot roepen herinneringen op aan literaire en pop-cult karakters als Huckleberry Finn, Howdy Doody en Alfred E. Neuman, de mascotte van MAD Magazine. Het jongetje hangt aan zware kettingen in een stalen raamwerk, zijn bewegingen aangestuurd door een computer. Hij wordt omhoog gehesen, naar achteren getrokken, zweeft rond en wordt weer tegen de vloer gesmeten. Soms probeert hij met zijn ogen contact te maken met het publiek. Hij is echter vooral de speelbal van de computer, die hem, voor de toeschouwer bijna voelbare, fysieke ontberingen laat ondergaan.<br />De indringende lichamelijkheid van de installatie, die de hele ruimte in beslag neemt, geeft het werk een onvoorspelbaar en gewelddadig karakter. Wolfson laat de grenzen tussen abstractie en figuratie vervloeien en onderzoekt de formele en verhalende mogelijkheden van sculptuur.</p> <p class="p1" style="text-align: justify;">Naast Colored sculpture zijn verschillende videowerken en digitale schilderijen te zien. Een van de hoogtepunten is Raspberry poser (2012). Dit videowerk wordt bevolkt door een melange van Disney-achtige animatiefiguren, muterende rode bloedcellen, een rondspringend condoom, beelden uit de kunstgeschiedenis en een punker, gespeeld door Wolfson zelf. De beelden worden met elkaar verbonden door een schetterende soundtrack van pop hits, van Beyonc&eacute; tot Roy Orbison.</p> <p class="p1" style="text-align: justify;">Ook zijn de &lsquo;wall mounted digital paintings&rsquo; te zien; gladgeschilderde pop-art-achtige montages van teksten en beelden waarin elementen van zeer verschillende herkomst tegen elkaar opbotsen. Sommige tekstelementen hebben de vorm van &lsquo;bumper stickers&rsquo;: horizontale banen met krachtige tekstboodschappen zoals met name Amerikanen graag op de achterkant van een auto plakken om zo andere weggebruikers deelgenoot te maken van een humoristische, religieuze of politieke&nbsp;boodschap.</p> <p class="p1">&nbsp;</p> Fri, 16 Sep 2016 07:45:34 +0000 Loretta Fahrenholz - Stedelijk Museum - December 10th 10:00 AM - 6:00 PM <p style="text-align: justify;">The Stedelijk bought<em>&nbsp;Ditch Plains</em>&nbsp;last year, along with a number of photographic works by Loretta Fahrenholz. The museum will present these newly acquired pieces in conjunction with her recent work, at the end of 2016.&nbsp;</p> <p style="text-align: justify;">You&rsquo;ll find the German artist Loretta Fahrenholz somewhere between Berlin and New York, and mid-way between film and art. Fahrenholz (1981, Starnberg) makes &lsquo;performative documentaries&rsquo;, often working closely with the actors and extras who perform in her work. The artist&rsquo;s films are an amalgam of different film genres, fusing elements typical of the documentary with those of the disaster movie, and porno. The hybrid&nbsp;<em>Ditch Plains&nbsp;</em>of 2013 was created in collaboration with the street dancers of the New York&nbsp;<em>Ringmaster Crew</em>. Shot in 2012 while Hurricane Sandy tore through New York, the result is a sci-fi mash-up of motifs borrowed from dance films and disaster movies. The members of the&nbsp;Ringmasters&nbsp;move with hallucinatory speed through the metropolis. &lsquo;Flexing&rsquo;, &lsquo;Bone Breaking&rsquo;, &lsquo;Pausing&rsquo; and &lsquo;Connecting&rsquo;, they tear through the night streets, hotel lobbies and a chic Park Avenue apartment, in a miasma of improvised moves and a sequence of dreamlike, apocalyptic scenes. Farenholz montaged the images with documentary film fragments of New York residents struggling to battle the hurricane. &nbsp;</p> <hr /> <p style="text-align: justify;">Het Stedelijk Museum kocht <em>Ditch Plains</em> vorig jaar aan, samen met een aantal fotografische werken van Loretta Fahrenholz. Eind 2016 presenteert het museum deze aanwinsten in samenhang met haar recente werk. &nbsp;</p> <p style="text-align: justify;">Ergens tussen Berlijn en New York en halverwege film en kunst kun je de Duitse kunstenaar Loretta Fahrenholz vinden. Fahrenholz (1981, Starnberg) maakt &lsquo;performatieve documentaires&rsquo;, vaak in nauwe samenwerking met de acteurs en figuranten die in haar werk optreden. Haar films zijn een amalgaam van uiteenlopende filmgenres: ze mixt bijvoorbeeld documentaire elementen met die van de rampenfilm en porno. Het hybride&nbsp;<em>Ditch Plains&nbsp;</em>uit 2013 ontstond in samenwerking met street dancers van de New Yorkse<em>&nbsp;Ringmaster Crew</em>. De film werd opgenomen in 2012 toen de orkaan Sandy over New York raasde en is een science fiction-achtig geheel waarin aan dans- en rampenfilms ontleende motieven met elkaar vervlochten raken. De leden van de&nbsp;Ringmastersbewegen zich al hallucinerend door de metropool. &lsquo;Flexing&rsquo;, &lsquo;Bone Breaking&rsquo;, &lsquo;Pauzing&rsquo; en &lsquo;Connecting&rsquo; gaan ze door de nachtelijke straten, hotel lobby&rsquo;s en een chique Park Avenue-appartement, improviserend in droomachtige, apocalyptische scenes. Fahrenholz versneed de beelden met documentaire filmfragmenten van inwoners van New York die het hoofd proberen te bieden aan de orkaan. &nbsp;</p> Tue, 06 Sep 2016 17:26:43 +0000