Published in Art India Magazine
Sourav Roy responds to Rameshwar Broota’s multi-generic journey over the last ﬁfty years.
Rameshwar Broota. Metamorphosis VI. Oil on canvas. 1986. Images courtesy Kiran Nadar Museum of Art, Delhi.
Contemporary art discourse constantly refers to the male gaze as it stays trained on a female body: longing, projecting, mapping, invading. But when the male gaze turns inwards, towards its host male body, not... [more]
Northwest Florida's little know Digital Graffiti Festival at Alys Beach has just announced its 27 artist line-up for its 8th edition taking place in 2015. Digital Graffiti (creating graffiti using computer software and technology) is a relatively undeveloped field, surprising considering the surge of interest in both graffiti and digital arts practices respectively.
The festival elicits participants come from the fields of film, art, and music who project their art on site at Alys Beach, a luxury devel... [more]
I entered the small, unassuming gallery space as a bearded head popped out from the back of the room and said, “Are you here to get your MFA?”
“Yes!” I replied cheerfully. Because I was. I read that I could get an MFA in just one day at the Tenderloin Institute of Art, hosted by SFAQ, and I was immediately on board. If showing up was the application process, I was already excelling with flying colors.
The man introduced himself as Dean Jeremiah Jenkins, and together... [more]
A MET galéria Háromszög című sorozatának első kiállítása"PROCESS": Gábor Enikő, Detvay Jenő, Kecskés PéterA kiállítást megnyitotta: Nagy Zopán költő, író, fotográfus
C/O Berlin recently moved to its new home, the Amerika Haus, a 1950s architectural trademark that saw little of the vicious consumerism and booming hedonism that characterized the so-called "Swinging 60s," yet plays perfect host to an exhibition centered on the era. C/O's current exhibition Blow-Up revolves around Italian director Michelangelo Antonioni's iconic 1966 film of the same name. Photography’s ability to picture reality is challenged both in the movie, as well as in the exhibiti... [more]
Zakir Hussain’s latest works at Gallery SKE in Bangalore is a wonderful presentation of works to understand that originality can only be claimed as an unclaimed, seen as the other in the final omnipresent grand narrative of itself. The claim to originality that his works make in the beginning is by having a title ‘no title’. This is very interesting as the self proclamation of having no title negates the presence of the trace of the past. If there is any coincide... [more]
Althea Thauberger Casts Kids as … Us
Blake Gopnik, Thursday, December 18, 2014
This is a still from Althea Thauberger's video called “Preuzmimo Benčić (Take Back Benčić)", which I recently caught at Susan Hobbs gallery in Toronto. (Click on my image to view a clip.) Thauberger's work is always fiendishly complex but also reliably compelling, and this is no exception. The video is set and was shot in the Croatian port city of Rijeka, in the abandoned (but gorgeous) Rikard Benčić factory complex; the factory's potential reuse has apparently been the subject of great civic debate and tension. For her piece, Thauberger got 67 local children to improvise possible reuse scenarios, with some playing factory workers retrained for the “creative industries" and others playing local administrators with their own ideas for the site, while still others play bosses and laborers. (Although none of those roles are all that clearly defined; misdirection and confusion are the order of the day.) If I've made the video sound dry and academic, the crucial antidote to that is the element of absurdity that the kids inject into things – into Thauberger's video, as a work of art, but also into the political and cultural conflicts they act out. I'm somehow reminded of the Houyhnhnm chapter in Gulliver's Travels, where “dumb" animals come off as smarter than the most sophisticated of (adult) humans. But as with Swift's chapter, the meaning of Thauberger's video can't be pinned down to some simple political or moral message. The real world of adult decision-making is every bit as confusing and complex – and ludicrous – as children's play.... [more]
Fresh Paint 7, Israel's largest contemporary art fair, which attracts more than 30,000 visitors annually, open tonight. The fair brings together the major forces of culture in the country, from galleries and institutions to established artists and curators working both locally and globally. While its exhibition model generally resembles those of other commerical art fairs—with their commercial motives, thematic sectors, and programming iniatives such as the Artists' Greenhouse, which presents eme... [more]
Back from her two-month artist residency in Paris as ArtSlant's 2014 Georgia Fee Summer Artist-in-Residence, Sara Shaoul is exhibiting her recent video Erin Mahoney (Activist, Friend) at the Hudson Valley Center for Contemporary Art. Part of their group exhibition, The Women's Room: Female Perspectives on Men, Women, Family and Nation, HVCCA presents video artworks by seven women artists, whose works explore the intricacies of gender, human relationships, and nation-centric politics.
We’re pumped to be doing our first #Instaresidency, where we hand over our Instagram to an artist for a week and let them sort out the rest. First up: digital artist and filmmaker Theodore Darst.
Darst first caught our attention through an exhibition, Only Real, in 2014 and then on Instagram with his dynamic animations playing with form, depth, and Macklemore. Using a range of digital software programs from CINEMA 4D After Effects to Photoshop, Darst abstracts his subjects through adding... [more]
Monopol magazine reported Thursday that German filmmaker Harun Farocki passed away on June 30, 2014, at the age of 70. Born in German-annexed Czechoslovakia in 1944, the Berlin-based artist was known not only for his provocative films, videos, and installations, but also his critical practice as a theorist, editor, curator, and educator.
Farocki studied at the Deutsche Film- und Fernsehakademie Berlin (DFFB) from 1966 to 1968. He would later become editor of the Munich-based journal Filmkritik and t... [more]