ArtSlant - Recently added en-us 40 Isaac Julien - Galerie Ron Mandos (Amsterdam) - November 25th - January 7th, 2017 <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 18:20:09 +0000 Berend Strik - Galerie Fons Welters - November 25th - January 7th, 2017 Tue, 25 Oct 2016 18:16:34 +0000 Jeremiah Day - Ellen de Bruijne Projects - November 12th - December 24th Tue, 25 Oct 2016 18:14:33 +0000 Lucile Desamory - Ellen de Bruijne Projects - November 12th - December 24th Tue, 25 Oct 2016 18:14:24 +0000 - de Appel arts centre - November 14th - December 11th <p style="text-align: justify;">In-Out Center was the first independent artist space in Amsterdam. From 1972 until 1974 it offered a platform for everything that was new at the time: performances, video art, visual poetry, audio art, conceptual art and artist books. Its nine members came from Latin America, Iceland and The Netherlands. Michel Cardena, Raul Marroquin, Ulises Carri&oacute;n, Hreinn Fridfinnsson, Sigurdur Gudmundson, Kristj&aacute;n Gudmundsson, Hetty Huisman, Pieter Laurens Mol en gerrit jan de rook contributed to the experimental art climate in Amsterdam, a city they admired for it&rsquo;s open and free spirit. Each member invited befriended artists to exhibit, which enhanced the space&rsquo;s exciting international character. It was an inspiring scene to visitors. In 1975, soon after In-Out Center was closed, Wies Smals founded De Appel in part to ensure a space for performances. Ulises Carri&oacute;n&rsquo;s Other Books and So (1975-1978) was another off-shoot from In-Out Center. Tineke Reijnders and Corinne Groot will continue their extensive research of the history of In-Out Center at De Appel arts centre. In a lively exhibition- and research space they will present archival material and original artworks. Reijnders/Groot will be present during the exhibition to share and receive information. Memories, anecdotes, pictures and other archival material are very welcome!</p> <hr /> <p style="text-align: justify;">Het In-Out Center was een kunstenaarsinitiatief dat van 1972 tot en met 1974 tal van activiteiten ontplooide in Amsterdam. Het was een podium voor alles wat toen nieuw was: performances, videokunst, tekstwerken, audiokunst, concept kunst, kunstenaarsboeken. De negen deelnemers waren afkomstig uit Latijns-Amerika, IJsland en Nederland. Michel Cardena, Ra&uacute;l Marroquin, Ulises Carri&oacute;n, Hreinn Fridfinnsson, Sigurdur Gudmundson, Kristj&aacute;n Gudmundsson, Hetty Huisman, Pieter Laurens Mol en gerrit jan de rook droegen bij aan het experimentele kunstklimaat van Amsterdam, de stad die ze in hun hart hadden gesloten vanwege het open en vrije karakter. Ieder van hen inviteerde op zijn/haar beurt een andere kunstenaar, wat bijdroeg aan de ongekende internationale sfeer. Bezoekers voelden zich ge&iuml;nspireerd en &eacute;&eacute;n van hen wat Wies Smals. Vlak na de sluiting van het In-Out Center richtte zij De Appel op om onder meer een podium voor performances veilig te stellen. Naast De Appel was ook het door Carri&oacute;n opgerichte Other Books and So (1975-1978) een uitloper van het In-Out Center. Tineke Reijnders en Corinne Groot zetten hun diepgravende onderzoek naar de historie van het In-Out Center voort met een presentatie in de Appel arts centre. Er worden originele kunstwerken uit de periode tentoongesteld, er is veel archiefmateriaal te bekijken en Reijnders en Groot zijn ter plekke aanwezig. De Appel is gedurende een maand hun onderzoeksplek. Zij willen informatie delen en ontvangen. Herinneringen, archiefmateriaal en gesprekken zijn dan ook heel welkom.</p> Tue, 25 Oct 2016 18:12:04 +0000 Constant Dullaart - Upstream Gallery - October 22nd - November 27th <p style="text-align: justify;"><span style="font-size: small;">Upstream Gallery proudly presents <em>Deep Epoch</em>, the first solo exhibition by <a href="" target="_blank">Constant Dullaart</a> (NL, 1979) with the gallery. Like the work of his digital native peers, Dullaart&rsquo;s often conceptual work manifests itself both online and offline. Within his practice, he reflects on the broad cultural and social effects of communication and image processing technologies while critically engaging the power structures of mega corporations that dramatically influence our worldview through the internet. During&nbsp;<em>Deep Epoch,</em> Dullaart shows a new series of oil paintings based on images generated by &lsquo;neural networks&rsquo;; works derived from his recent performative intervention <em>The Possibility of an Army,</em> as well as photographic prints from his Instragram project for Jeu de Paume and HMKV: <em>High Retention, Slow Delivery</em>.</span><br /><br /><span style="font-size: small;">In 2015, Dullaart was awarded the <a href="" target="_blank">Prix Net Art</a>, the international prize for internet art. Recent exhibitions include <em>The Possibility of an Army</em>, Kunsthalle Schirn, Frankfurt; <em>Public Works</em>, Hoog-Catharijne, Utrecht; <em>Electronic Superhighway,</em> Whitechapel Gallery, London (2016); <em>The Censored Internet</em>, Aksioma, Ljubljana; <em>When I Give Myself, I Give Myself</em>, Van Gogh Museum, Amsterdam and <em>Alogorithmic Rubbish</em>, Stedelijk Museum Bureau Amsterdam (2015). Dullaart has curated several exhibitions and lectured at universities and academies throughout Europe, most recently at Werkplaats Typografie, a post-graduate programme at ArtEZ, Arnhem.&nbsp;</span></p> <h1 style="text-align: justify;"><span style="font-size: small;">Machine learned, man made paintings. Synthesised image concepts.</span></h1> <p style="text-align: justify;"><span style="font-size: small;">Within the current Machine Learning Revolution, so-called convolutional networks (ConvNets) can now recognize objects within photographic images. This might seem like a trivial addition to already existing computer and online service capabilities, but it is a crucial step in how humans can interact with representation and depiction. The enhanced agency differentiating a cow from a horse, is rapidly developing into recognizing specific people and their moods, and interpreting behaviour.</span></p> <p style="text-align: justify;"><span style="font-size: small;">If we all collectively imagine a candle, what would come out? Thousands, millions of images of candles are photographed and archived, representing so many aspects of our lives. Dinner conversations, social relationships, health, design, wealth, culture. Reverse engineering the so-called &lsquo;neural networks&rsquo; that Facebook and Google use to recognize image content with, shows however what these networks understand of us so far: a cold machine-like interpretation of what we prefer to see and what we depict when representing a restaurant, fire, a refrigerator or a handkerchief. A collective visual consciousness learning to recognize the gradients, saliency, angles, curves and hues of every visual concept we can imagine. It shows what translates of our culture to machine understanding at this moment. Every day, new interpretation skills are outsourced to a neural network and every month shows us new applications of creative labour learned to a machine. Security cameras recording to the cloud are feeding the network to learn what evil is, based on statistics. We are outsourcing judgement and prejudice to facts interpreted by rules. It's not our decision, it is the network's decision based on learning from all the facts in the world.</span></p> <p style="text-align: justify;"><span style="font-size: small;">In a way these synthesised images, based on photographic representation, show a mechanised version of the collective consciousness of Western societies. These current state-of-the-art, synthesised images look quite painterly, very surreal, copying human sense of documentation, and composition, rendering each visualised class a deadly but sympathetic rendering of the gestalt of the class in question.</span></p> <p style="text-align: justify;"><span style="font-size: small;">This mechanical depiction of a concept questions our understanding of depiction in general, especially when positioned within a timeframe of rapid development of these convolutional networks. The sheer amount of money, education, talent and computing power Facebook, Google, OpenAI and others are throwing at these developments, does not suggest anything else then a future in which these techniques will be utilised and rapidly developed beyond the current painterly, even beautifully naive level.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Selected to show the trivial banal technicalities of human life, and the Convolutional Networks vision of its own parts, Dullaart sent the slightly naive, yet cold and surreal depictions to paint factories in Dafen Village, Shenzhen, China and translated into oil paintings on canvas. Continuing the image automation process with outsourced human labour. The TNT express delivered canvases were treated with an automotive clear coat mixed with ghost pearls, normally used in car paint and product design, amplifying the mechanically attractive, adversarially authentic compositions.</span></p> <h1 style="text-align: justify;"><span style="font-size: small;">Follower profiles</span></h1> <p style="text-align: justify;"><span style="font-size: small;">In 2014, Constant Dullaart bought and distributed 2.5 million artificial followers to &lsquo;follow&rsquo; a selection of active art-world Instagram accounts for a project commissioned by Jeu de Paume in Paris and Der Hartware MedienKunstVerein (HMKV) Dortmund. With this action, he reproduced a common practice used to boost the popularity of celebrities or political personalities on social media platforms. By equalizing the amount of followers on each account, and inherently removing the issue of quantified popularity from this part of the art scene, Dullaart was called the Lenin of social media; a symbolic act of socialism on social media. With his action, Dullaart points to the implications of the attention economy, based on audience as the ultimate commodity. The generation of a mass of followers is key to artists creating a brand online, performing a continuous LARP (live-action role play) as part of their <a href="" target="_blank">work</a>. The way in which audience precedes the work of an artist, creating a place for it in the art world, goes through the same channels of a system which capitalizes on social markers: preferences and likes online become value in terms of legitimacy and market presence.</span></p> <p style="text-align: justify;"><span style="font-size: small;">The printed Instagram profiles included in <em>Deep Epoch</em> are physical realizations of a selection of the fake accounts acquired and used by Dullaart. The artificial profiles are created from &lsquo;scraped images&rsquo;, without the consent of copyright, the biographies copied and &lsquo;spun&rsquo; from existing accounts. The contents are manipulated to induce spelling mistakes so that the original users cannot find their altered profile through Google searches or other means. Most of these bots have 3 to 5 randomly cropped image uploads, follow thousands of accounts and in turn are followed by few to none.</span></p> <h1 style="text-align: justify;"><span style="font-size: small;">PVA Formations (SIM card choreographies)</span></h1> <p style="text-align: justify;"><span style="font-size: small;">In Dullaart&rsquo;s recent durational performance <em>The Possibility of an Army</em> at Schirn Kunsthalle, he critically explored the concept of digital identity, which has strongly gained in importance through the daily use of social networks. Dullaart created a &lsquo;fake&rsquo; army to stand up in the war against the current American social media revolution the false validation systems in journalism based on follower counts. The army was assembled of thousands of artificial profiles on Facebook, for which the artist used the names of the original Hessian mercenaries who were hired by the British to fight in the American Revolutionary Wars (1775&ndash;1783). The original army generated a new income to Landgraf Friedrich II of Hessen, which he used to build the first publicly accessible art museum in the world: the Fridericianum.</span></p> <p style="text-align: justify;"><span style="font-size: small;">The fake profiles&rsquo; accounts were registered on phone numbers bought in bulk in multiple countries. The accompanying SIM cards are by-products of companies offering PVAs (Phone Verified Accounts) as a service to create multiple user accounts, acting as passports to new identities. As a physical extension of this project, the artist has created compositions out of the purchased SIM cards. Waging a war against Facebook through the channels of <a href="" target="_blank">mass</a> <a href="" target="_blank">media</a>, the SIM cards also act as the only physical remnants of the soldiers, as Facebook has now deleted 90% after Dullaart released the historic source of the Hessian soldiers names. Purchased by kilo, the SIM cards are often recycled for their gold recovery, a process seen as contemporary or urban mining. The works therefore stand as a placeholder for the inherent value of identity as a commodity, turned to profit by having the new identity click, like, retweet and follow. Leaving a thin sliver of gold worth a few cents when recovered. These frozen choreographies featuring physical remnants of artificial identities represent further standing armies in ongoing and future information wars fought with automated cultural output.</span></p> Tue, 25 Oct 2016 18:00:50 +0000 Saskia Olde Wolbers - Stigter van Doesburg - October 15th - November 19th Tue, 25 Oct 2016 17:57:50 +0000 Florian & Michaël Quistrebert - Galerie Juliètte Jongma - October 29th - December 10th Tue, 25 Oct 2016 17:55:11 +0000 Niels Shoe Meulman - Galerie Gabriel Rolt - October 15th - November 18th <p style="text-align: justify;">Saturday 14 October: 17:00 Tolstraat 84, Amsterdam with a live performance by FIRESTONE!</p> <div class="layoutArea"> <div class="column"> <p style="text-align: justify;"><br />Galerie Gabriel Rolt is proud to announce <em>Uncontrolled substances</em>, Niels Shoe Meulman&rsquo;s first solo exhibition at the gallery.</p> <p style="text-align: justify;"><br />Over the last few years, Shoe&rsquo;s artistic expression has radically changed.<br /> Rooted in his graffiti background, and achieving ultimate extensions of his calligraphic past, Shoe&rsquo;s most recent works carry the traces of manual skills and techniques, that refer to letters and calligraphic shapes. The new paintings, however, express something completely new. Inspired by artists like Cy Twombly or Christopher Wool, Shoe&rsquo;s approach to his formal language changed radically towards abstractism: the strictness and precision are now entirely gone, creating possibility for different shapes to find their own form.</p> <p style="text-align: justify;">The free brushes of paint, applied with strength and energy, come alive like overgrown grass; like wild trees or plants, the strokes of paint seem to expand on the canvas&rsquo; surface, moving, growing freely and uncontrolled. seemingly uncoordinated<br /> The parallel with a natural world is not accidental; not only do the apparent patterns remind us of uncultivated gardens, they are actually made concrete using flora&rsquo;s artificial reproduction. Experimenting with mediums, Shoe started to often employ fake plants instead of brushes, creating a directness with new, interesting effects on the fabric and conceptually linking the formal resemblances of the patterns with the instrument itself.</p> <p style="text-align: justify;"><br />Encountering different textures and oscillating colors, the metallic and iridescent paint seems to softly explode on the surface of the canvas, its shiny gleam invests the viewer&rsquo;s gaze almost like a surge. The richness of colors and shades encounters movement, accentuated by the folds of the fabric, which hangs without frame on the wall. The &lsquo;unartificial&rsquo;, loose character of the canvas gives even more life to the mighty brushes, and, yet again, hints towards an uncontrolled, natural roughness.</p> <div class="page" style="text-align: justify;" title="Page 1"> <div class="layoutArea"> <div class="column"> <p>It&rsquo;s exactly this discovered freedom, this looseness, which characterizes Shoe&rsquo;s new body of work.</p> <p><br />The intensity of the paint applications, which comes across almost aggressively, is</p> </div> </div> </div> <div class="page" title="Page 2"> <div class="layoutArea"> <div class="column"> <p style="text-align: justify;">combined with a deep sensitivity to beauty, creating an amorphous, bittersweet and intimidating feeling, resembling the one described as sublime by philosophers like Burke and Kant. The contrast between the roughness of the making process and the aesthetic appeal of the paintings is unsettling, and leaves the viewer with an unsatisfied longing towards comprehension; like Friedrich&rsquo;s&nbsp;Wanderer above the sea of fog, the spectator finds himself lost in a sea of uncertainty and desires, facing the magnitude in front of her/him.</p> <p style="text-align: justify;"><br />Marking a whole new chapter in the artist&rsquo;s formal language, this new exhibition expresses the result of Shoe&rsquo;s artistic spirit, longing to experiment and discover, leaving space for new, beautiful,&nbsp;uncontrolled substances&nbsp;to break free.</p> <p style="text-align: justify;">The opening of Shoe&rsquo;s solo exhibition will be combined with the launch of his new book &lsquo;Shoe is my middle name&rsquo;, published by Lebowski, an overview of his works from the graffiti period that made him an international phenomenon to his latest abstract paintings.</p> </div> </div> </div> </div> </div> Tue, 25 Oct 2016 17:53:16 +0000 David Maljkovic - Annet Gelink Gallery - November 18th - January 7th, 2017 Tue, 25 Oct 2016 17:43:56 +0000