ArtSlant - Contemporary Art Network http://www.artslant.com/cn/Articles/show en-us 40 Your Guide to Navigating Los Angeles Art Events on This Very Important Weekend <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">Living in Los Angeles as an active member of the art scene involves making many choices on a weekly or even nightly basis. In other cities, where art spaces are packed tightly together in close proximity, it&rsquo;s usually possible to hop around to visit a number of events on a given night, using public transportation or grabbing an Uber, no big deal. Los Angeles, on the other hand, is not one city: it is many. It is unimaginably spread out, and the vast distances between the different art enclaves generally prohibit one from hopping from one to the next in the same evening. Especially on weekdays when travel times can easily double or even triple in the face of rush hour traffic. So unless you&rsquo;re traveling with a racecar driver, have a personal valet, or have a divine gift for finding parking, the best bet is to make a plan and target one area. With Art Los Angeles Contemporary (ALAC) this weekend, it&rsquo;s time to get those plans in order. Here are your choices:</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">&nbsp;</span></p> <p style="line-height: 26px; text-align: justify;"><strong style="font-family: georgia, palatino; font-size: medium;">Thursday, January 29: Santa Monica OR Downtown L.A.?</strong></p> <p style="line-height: 26px; text-align: center;"><span style="font-family: georgia, palatino; font-size: medium;"><img src="http://dbprng00ikc2j.cloudfront.net/userimages/32120/1dkh/20150129102108-ALAC-1295.jpg" alt="" /></span></p> <p style="line-height: 26px; text-align: center;"><span style="font-family: georgia, palatino; font-size: x-small;"><em>Art Los Angeles Reader</em></span></p> <p style="line-height: 26px; text-align: center;"><span style="font-family: georgia, palatino; font-size: x-small;"><em>&nbsp;</em></span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">Santa Monica: <a href="http://artlosangelesfair.com/" target="_blank">ALAC</a> Opening Night Reception, 7&ndash;9pm. $60</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">If you&rsquo;re itching to get the first peek at ALAC&rsquo;s offerings and if you&rsquo;re in the market to buy, you should attend the opening reception. Hans Ulrich Obrist will be there at 6:30pm for the ForYourArt-sponsored Artist Books and Cookies launch with Felipe Ehrenberg. And at 7:30, join writers Kate Wolf, Travis Diehl, Tracy Jeanne Rosenthal and other contributors to ALAC&rsquo;s special publication, the <em>Art Los Angeles Reader, </em>for its release.</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">Downtown L.A.: <a href="http://laartbookfair.net/" target="_blank">LA Art Book Fair</a> Preview, 6-9pm. $10</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">If you&rsquo;re an art-book hound that can&rsquo;t wait to get your hands on all the books, zines and merch available at the Book Fair, and/or you&rsquo;re a fan of the bands NO AGE or Prince Rama, you should get thee to the Geffen Center for the opening night festivities. Performances that night start at 7pm and include the aforementioned music duos on the Courtyard Stage, and a screening of Black Radical Imagination Mixtape: a video and new media presentation curated by Amir George and Erin Christovale.</span></p> <p style="line-height: 26px;"><span style="font-family: georgia, palatino; font-size: medium;"><img style="display: block; margin-left: auto; margin-right: auto;" src="http://dbprng00ikc2j.cloudfront.net/userimages/32120/1dkh/20150129102653-140.jpg" alt="" width="600" /></span></p> <p style="line-height: 26px; text-align: center;"><span style="font-family: georgia, palatino; font-size: x-small;">LA Art Book Fair, View of Gallery K, 2014</span></p> <p style="line-height: 26px; text-align: center;"><span style="font-family: georgia, palatino; font-size: x-small;">&nbsp;</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;"><strong>Friday, January 30: Again, Downtown L.A. OR Santa Monica?</strong></span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">Downtown L.A.: Art Book Fair, 12-7pm. Free.</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">On Friday you&rsquo;re once again faced with the dilemma of east or west. Maybe if you went to the ALAC opening on Thursday, you&rsquo;ll want to visit the Art Book Fair today, or vice versa. At the Art Book Fair on Friday you can see performances by Carmen Winant (<em>My Life as a Man, </em>2pm), Rick Myers (<em>Fragments of a failed bullet [A Bullet for Bu&ntilde;uel], </em>4pm), Johan Rosenmunthe (<em>TECTONIC CRYSTAL HEALING</em>, 5pm), and Ugly Duckling Presse&rsquo;s <em>Emergency INDEX</em>, a document of performance practice and live performances by Angela Washko, Steve Chodoriwsky, GWC Investigators, Neha Choksi, and Am Schmidt (6pm), and musical performances by Lucky Dragons and many more.</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">After hours, skip over to <a href="http://356mission.tumblr.com/post/109224088325/mega-launch-at-ooga-twooga-356-s-mission-road" target="_blank">356 Mission</a> from 7&ndash;9pm for a party celebrating the launch of books by Lisa Anne Auerbach, Eric Wesley, and David Benjamin Sherry, and others.</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">&nbsp;</span></p> <p style="line-height: 26px;"><span style="font-family: georgia, palatino; font-size: medium;"><img style="display: block; margin-left: auto; margin-right: auto;" src="http://dbprng00ikc2j.cloudfront.net/userimages/32120/1dkh/20150129094758-nthsgkinstall30_72dpi.jpg" alt="" width="600" /></span></p> <p style="line-height: 26px; text-align: center;"><span style="font-family: georgia, palatino; font-size: x-small;">Glenn Kaino,<em>&nbsp;A Shout Within a Storm</em>, 2014, Installation view of&nbsp;<em>Labyrinths</em>, 2015 at Honor Fraser</span></p> <p><span style="font-family: georgia, palatino; font-size: x-small;">&nbsp;</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">Santa Monica: ALAC, 11-7pm. $22</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">Friday might be your day to explore ALAC. While there be sure to stop by Tif Sigfrids&rsquo; booth, where you will be greeted by an actual used-car dealer, there to sell you some paintings by Joe Sola. At 4pm Berlin-based curator Marc LeBlanc will show <em>Passages,</em> a screening of a series of videos by Keren Cytter, Alicja Kwade, Jon Rafman and more (part 2 screens on Saturday, again at 4pm). If you find time, you could fit in a quick trip over to nearby Culver City, where we highly recommend exhibitions by Glenn Kaino at <a href="http://www.artslant.com/la/events/show/367241-labyrinths" target="_blank">Honor Fraser</a> and Farrah Karapetian at <a href="http://www.artslant.com/la/events/show/368036-stagecraft" target="_blank">Von Lintel Gallery</a>.</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">&nbsp;</span></p> <p style="line-height: 26px;">&nbsp;</p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;"><strong>Saturday, January 31: Mountains OR City?</strong></span></p> <p style="line-height: 26px;"><span style="font-family: georgia, palatino; font-size: medium;"><strong><img style="display: block; margin-left: auto; margin-right: auto;" src="http://dbprng00ikc2j.cloudfront.net/userimages/32120/1dkh/20150129152923-SMC_4576.jpg" alt="" width="600" /></strong></span></p> <blockquote> <div dir="ltr"> <div style="text-align: center;"><span style="font-family: georgia, palatino; font-size: x-small;"><span style="color: #000000;">Courtesy Paramount Ranch, Los Angeles.&nbsp;</span>Photo Credit: Sabrina McGrew</span><span style="font-family: georgia, palatino; font-size: x-small;">&nbsp;</span></div> <div style="text-align: center;"><span style="font-family: georgia, palatino; font-size: x-small;">&nbsp;</span></div> </div> </blockquote> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">Mountains: <a href="http://paramountranch.la/" target="_blank">Paramount Ranch</a>, 10-11am Preview (invite only, free), 11am-5pm. $5 (free for students)</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">Saturday marks the opening of Paramount Ranch. Set on an old Western movie set in the Agoura Hills, this is going to be at least an hour drive for everybody, no matter where you&rsquo;re coming from (unless you live in Malibu or something). So spend the day! Enjoy the rugged scenery, the olde-timey sensibilities of your surroundings juxtaposed with cutting edge contemporary art. Now in its second year, Paramount Ranch has expanded its offerings, with 54 presentations by artist-run projects, non-for-profits, and galleries from as far away as Berlin and Tokyo.</span></p> <p style="line-height: 26px; text-align: center;"><span style="font-family: georgia, palatino; font-size: medium;"><img src="http://dbprng00ikc2j.cloudfront.net/userimages/32120/1dkh/20150129095207-Screen_Shot_2015-01-29_at_10.09.15_AM.png" alt="" /></span></p> <p style="line-height: 26px; text-align: center;"><span style="font-family: georgia, palatino; font-size: x-small;">Kim Gordon and Bill Nace of Body/Head</span></p> <p style="line-height: 26px; text-align: center;"><span style="font-family: georgia, palatino; font-size: x-small;">&nbsp;</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">For your evening entertainment on Saturday, you might find yourself at the Getty for their free <a href="http://www.getty.edu/museum/programs/performances/saturday_nights.html" target="_blank">Saturday Nights at the Getty series</a>. This particular Saturday, 7:30pm, you can see experimental electric guitar duo Body/Head (Kim Gordon of Sonic Youth and noise musician Bill Nace). Hopefully you RSVP&rsquo;d already or know someone who put in an RSVP, &lsquo;cause that show has been &ldquo;sold out&rdquo; since it was announced.</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">City: If you decide to stay in the city, Saturday is when most of L.A.&rsquo;s galleries celebrate exhibition openings. So you could potentially browse the fairs if you still need to, and then pick a couple openings to visit. But beware, don&rsquo;t scatter your efforts too widely. Even though it&rsquo;s Saturday and traffic likely won&rsquo;t be much of an issue, parking still is. Our recommendation is to center around the Miracle Mile area, with the openings of&nbsp;</span><a style="font-family: georgia, palatino; font-size: medium;" href="http://www.artslant.com/la/events/show/371409-illusions-of-domesticity">Betty Woodman at David Kordansky Gallery</a><span style="font-family: georgia, palatino; font-size: medium;">&nbsp;and&nbsp;</span><a style="font-family: georgia, palatino; font-size: medium;" href="http://www.artslant.com/la/events/show/370589-mixing-up-the-medicine" target="_blank">Michel Auder and Deanna Thompson at Kayne Griffin Corcoran</a><span style="font-family: georgia, palatino; font-size: medium;">. &nbsp;</span></p> <p style="line-height: 26px;"><span style="font-family: georgia, palatino; font-size: medium;"><img style="display: block; margin-left: auto; margin-right: auto;" src="http://dbprng00ikc2j.cloudfront.net/userimages/32120/1dkh/20150129100022-event.9554.jpg" alt="" /></span></p> <p style="line-height: 26px; text-align: center;"><span style="font-size: x-small;"><span style="font-family: georgia, palatino;">Deanna Thompson and&nbsp;</span><span style="font-family: georgia, palatino;">Michel Auder at Kayne Griffin Corcoran&nbsp;&nbsp;</span></span></p> <p style="line-height: 26px; text-align: center;"><span style="font-size: x-small;"><span style="font-family: georgia, palatino;">&nbsp;</span></span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">Saturday night is the official afterparty for the LA Art Book Fair and Paramount Ranch at Jewel&rsquo;s Catch One nightclub (4067 W Pico Blvd), with an amazing line up of performances by Tink, Future Brown, Juan Maclean, Peaking Lights, M. Geddes Gegras, D/P/I, Shena Shenai, and Awesome Tapes From Africa. Doors at 9pm. $15, <a href="http://www.ticketfly.com/event/765895" target="_blank">tickets available here</a>.</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">&nbsp;</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;"><strong>Sunday, February 1: Your Choice!</strong></span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">Haven&rsquo;t made it to the Art Book Fair yet? Ready to make the trek out to Paramount Ranch? Missed ALAC until now? Sunday is the day to fill in the blanks in your art itinerary, purchase those last works of art or books you&rsquo;ve been considering, or, if you&rsquo;ve already sampled everything and made your buys, maybe visit a museum (LACMA&rsquo;s Pierre Huyghe exhibition is still on, and there are some new shows at the Hammer). You could continue the Sonic Youth theme and see Thurston Moore play at the Art Book Fair (4pm). Or just take the day off and go get some Korean BBQ. You deserve it!</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">&nbsp;</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">&mdash;<a href="http://www.artslant.com/global/artists/show/11505-natalie-hegert?tab=REVIEWS">Natalie Hegert</a></span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">&nbsp;</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: x-small;">(Image at top: Art Los Angeles Contemporary, Barker Hangar Ceiling, 2013)</span></p> Thu, 29 Jan 2015 15:35:24 +0000 http://www.artslant.com/cn/Articles/list http://www.artslant.com/cn/Articles/list <em>Open Source</em> Philadelphia Announces 2015 Exhibitors <p style="text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium; line-height: 26px;">Philadelphia's renowned Mural Arts Program have announced <a href="http://www.opensourcephl.com/work" target="_blank">the artists</a> who will exhibit as part of their latest high profile project: <em>Open Source:&nbsp;</em><em>Engaging Audiences in Public Space</em>.&nbsp;</span><span style="font-family: georgia, palatino; font-size: medium; line-height: 26px; text-align: left;">With its mix of some of the most sought-after names from the "street art" circuit alongside distinctive names from contemporary art, the selection reveals a roster of exhibitors who all share an institution-friendly quality.&nbsp;</span></p> <p style="text-align: center;"><span style="font-family: georgia, palatino; font-size: medium; line-height: 26px; text-align: left;"><img src="http://dbprng00ikc2j.cloudfront.net/userimages/101642/4cut/20150129114702-Odita.jpg" alt="" /></span></p> <p style="text-align: center;"><span style="font-family: georgia, palatino; font-size: x-small;"><span style="text-align: left;">Odili Donald Odita,&nbsp;</span><em style="text-align: left;">Heaven&rsquo;s Gate</em><span style="text-align: left;">, 2012, Savannah College of Art &amp; Design Museum of Art, Savannah, GA. Courtesy of Odili Donald Odita and Jack Shainman Gallery, New York</span></span></p> <p style="text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium; line-height: 26px; text-align: left;">&nbsp;</span></p> <p style="text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium; line-height: 26px;">Curated by Pedro Alonzo, the full list comprises: Shepard Fairey, Swoon, Momo, JR, Sam Durant, Dufala Brothers, Ernel Martinez &amp; Keir Johnston, Jonathan Monk, Odili Donald Odita, Sterling Ruby, Michelle Angela Ortiz, Jennie Shanker, Shinique Smith and Heeseop Yoon.</span></p> <p style="text-align: center;"><span style="font-family: georgia, palatino; font-size: medium; line-height: 26px;"><img src="http://dbprng00ikc2j.cloudfront.net/userimages/101642/4cut/20150129114813-Yoon.jpg" alt="" /></span></p> <p class="NoSpacing" style="text-align: center;"><span style="font-family: georgia, palatino; font-size: x-small;">Heeseop Yoon,&nbsp;<em>Still-life #11</em>, 2012, 24&rsquo;x 60&rsquo;. 1/4'' black masking tape on mylar. Courtesy of Heeseop Yoon</span></p> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium; line-height: 26px;">The artists will create site-specific works all over the city, in attempt to bolster Philadelphia's cultural image worldwide, taking inspiration from major street art festivals and public art iniatives&mdash;such as Miami's Wynwood Walls and Prospect New Orleans&mdash;that&nbsp;have injected new life into their respective neighborhoods and cities.</span></p> <p style="text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium; line-height: 26px;">&nbsp;</span></p> <p style="text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium; line-height: 26px;">&mdash;The ArtSlant Team</span></p> <p style="text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium; line-height: 26px;">&nbsp;</span></p> <p style="text-align: justify;"><span style="font-family: georgia, palatino; font-size: x-small;"><span style="line-height: 26px;">(Image at top:&nbsp;</span><span style="text-align: left;">MOMO, Jamaica, 2013. Courtesy of MOMO)</span></span></p> Thu, 29 Jan 2015 13:21:18 +0000 http://www.artslant.com/cn/Articles/list http://www.artslant.com/cn/Articles/list Soft Power or Bulging Bicep? The Developing Muscle of the IAF <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">In 2014 India witnessed the swooping descent of a controversial new government. The Bharatiya Janata Party (known as the BJP) divided thousands of voters over its origins in the nationalist, Hindu-supremacist philosophy of </span><em style="font-family: georgia, palatino; font-size: medium;">Hindutva.</em></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">For many Indians, the leader, Narendra Modi, is a figurehead of cultural and racial intolerance: a politician who oversaw the slaughter of over 2,000 Muslims in his ministerial state of Gujarat in 2002; a man who abandoned his wife in voracious pursuit of power; a shady, natty politician who most recently held a meeting with Barack Obama wearing a suit which bore his own name in shiny pinstripes.</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">Yet for others, he is the leading light of a new chapter in India&rsquo;s development. The rudder within a dynamic government which will steer India towards a great flourish in cultural activity, cross-continental trade and local infrastructure. </span><span style="font-family: georgia, palatino; font-size: medium;">&nbsp;</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;"><img src="http://dbprng00ikc2j.cloudfront.net/userimages/101642/4cut/20150128083156-Neha-Kirpal-2.jpg" alt="" /></span></p> <p style="line-height: 26px; text-align: center;"><span style="font-family: georgia, palatino; font-size: x-small;">Neha Kirpal, Founder and Director of the India Art Fair, a scheme which she first sketched out on an airplane sickbag and which she now hails as "a catalyst for progress." Image c</span><span style="font-family: georgia, palatino; font-size: x-small;">ourtesy IAF 2015</span></p> <p style="line-height: 26px; text-align: center;"><span style="font-family: georgia, palatino; font-size: x-small;">&nbsp;</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">Neha Kirpal, organizer of the India Art Fair, which opens on Thursday, is positive about the new government&rsquo;s commitment to &ldquo;Brand India.&rdquo;</span><span style="font-family: georgia, palatino; font-size: medium;">&nbsp;</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">"I&rsquo;m hoping the government will begin to fulfill its responsibilities towards culture. It&rsquo;s important that the industry gathers together to lobby the new government in the right ways; through campaigning for support with custom duties, for example, and with infrastructure and educational development."</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">The BJP&rsquo;s newly formed Arts and Culture cell has outlined its support to "groups and cultural organizations engaged in the literary arts." &nbsp;It has pledged a keenness to support Indian cinema: "movies that are rich in cultural values and have a strong flavor of Indian traditions," stated culture minister Mithilesh Kumar Tripathi, who called for a return to films which are "centered upon the big Indian family."</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">However, many feel that the government&rsquo;s cultural policies ought to be pioneering in its social attitudes, not nostalgic. Today, the India Art fair sees over 100,000 visitors across four days; when it began, the National Art Museum received only 18,000 in a year.</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">It seems that the cultural fabric of &ldquo;Brand India&rdquo; may stem from porous, collaborative networks rather than government funded dogma.</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">Kirpal agrees: "Events such as the Art Fair create large business opportunities and foster cultural exchange. The new government needs to learn important lessons from China and embrace the 'soft power' of the Arts."</span></p> <p style="line-height: 26px;"><span style="font-family: georgia, palatino; font-size: medium;"><img style="display: block; margin-left: auto; margin-right: auto;" src="http://dbprng00ikc2j.cloudfront.net/userimages/101642/4cut/20150128083304-yesculturebanner.jpg" alt="" /></span></p> <p style="line-height: 26px; text-align: center;"><span style="font-family: georgia, palatino; font-size: x-small;">India Yes Culture Banner, Courtesy IAF 2015</span></p> <p style="line-height: 26px; text-align: center;"><span style="font-family: georgia, palatino; font-size: x-small;">&nbsp;</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">This is an idea that the Indian corporate sector is recognizing far more quickly than its politicians. This year, the Art Fair sees an admirable injection of support from across the business spectrum. Google and HCL are providing free passes for every single employee, while primary partner Yes Bank has launched a new initiative: Yes Culture, which calls for "development through the vibrant power of creativity and imagination."</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">India is a society where the largest permanent collection of art is in the Bombay airport. It is not uncommon to see shopping malls and apartment complexes playing host to rich and provocative exhibitions. For Kirpal, this is an exciting and accessible cultural environment: "the corporate sector has recognized how art can be a great way to engage with society; how it can function as an effective vehicle into the luxury segment whilst simultaneously understanding that it is vital to bring the art to where the people are."</span><span style="font-family: georgia, palatino; font-size: medium;"><br /></span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">New government legislation calls for Indian businesses to reserve two percent of their net profits for Corporate Social Responsibility. With the help of these businesses the "soft power" of the Indian Arts scene will soon harden into forceful muscle. It is thanks to Kirpal&rsquo;s vision with the Art Fair and the talent showcased there that we are privileged to witness its flexing.</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">&nbsp;</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">&mdash;Philippa Malicka</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">&nbsp;</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino;"><span style="font-size: x-small;">(Image at top: For many, Narendra Modi is the figurehead for change and modernity across India, via</span><strong style="font-size: x-small; text-align: left;">&nbsp;<a href="http://www.mid-day.com/" target="_blank">www.mid-day.com</a>)</strong></span><span style="font-family: georgia, palatino; font-size: medium;"><br /></span></p> Wed, 28 Jan 2015 12:50:06 +0000 http://www.artslant.com/cn/Articles/list http://www.artslant.com/cn/Articles/list 7 Delights for the IAF 7 <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">To celebrate the seventh edition of IAF 2015, we&rsquo;ve selected seven sensory and cerebral delights to carry you through the weekend.</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">&nbsp;</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;"><strong>1. </strong><strong>Priyanka Choudhary</strong><strong> performing <em>The Art of Papilio Demoleus</em></strong><strong> (or how to become The Lemon Butterfly)</strong></span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">Priyanka&rsquo;s visual vocabulary spans Arte-Povera, Minimalism, and contemporary practice including performance art. Expect an unsettling meditation on the forces threatening our contemporary global environment.</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">&nbsp;</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;"><img src="http://dbprng00ikc2j.cloudfront.net/userimages/101642/4cut/20150128082205-DE21PERISCOPEGRAFFI_898876f.jpg" alt="" /></span></p> <p style="line-height: 26px; text-align: center;"><span style="font-family: georgia, palatino; font-size: x-small;">Indian street artist tags a burnt out car in Delhi via Periscope Graffiti&nbsp;</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;"><strong>2. Untitled, Daku</strong></span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">Stay mindful as you enter the fair. Along the stretch which takes you from the blaring roadside towards the main venue established Delhi street artist Daku (meaning "smuggler") has created a 100m long white stencilled text on asphalt. In the form of an epic love letter, Daku has shared his experiences of working as a street artist. The result is commissioned vandalism at its most candid.</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">&nbsp;</span></p> <p style="line-height: 26px; text-align: center;"><span style="font-family: georgia, palatino; font-size: medium;"><img src="http://dbprng00ikc2j.cloudfront.net/userimages/101642/4cut/20150128082103-1618012_837939806269825_6224799769949466355_o__1_.jpg" alt="" />&nbsp;</span></p> <p style="line-height: 26px; text-align: center;"><span style="font-family: georgia, palatino; font-size: x-small;">Caara's pop up rooftop restaurant&mdash;the ideal spot to drink wine and create your fantasy Art Fair collector's list</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;"><strong>3. Caara restaurant and cigar lounge</strong></span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">Because after that you&rsquo;ll need a smoke&hellip;</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">Caara will offer you a range of refreshments from takeaway pastries to pious cold pressed juices. The rooftop restaurant also offers the chance to enjoy European-style cuisine before schmoozing with a Cingari Habanos cigar and a premium malt whiskey. Email to reserve your spot: contact@caara.com</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">&nbsp;</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;"><strong>4.</strong> <strong><em>Artificial Participation 2015, </em></strong><strong>Sanjay Theodore</strong></span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">The anathema of audio guide drudgery. Theodore&rsquo;s microsite can be accessed through your smartphone. As you move through the fair you can photograph and upload any work you see. An intelligent computer, perhaps some distant cousin of Siri then provides real time aesthetic feedback, using AI. This promises to be a fascinating exploration of our relationship with our devices, as well as a wider dialogue with the mechanisms of art criticism.</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">&nbsp;</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;"><strong>5. Yes Culture Spotlight Series, <em>My East is Your West</em></strong></span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">2015 will see a historic collateral exhibition between India&rsquo;s Shilpa Gupta and Pakistan&rsquo;s Rashid Rana in a show at the Venice Biennale entitled <em>My East is your West</em>. This landmark collaboration which will be previewed in the Yes Culture Lounge, an echo of the new emphasis on Pakistani artists featured across the fair. Look out for other artists from Art Chowk in Karachi, and the Pakistani panel at the Speakers' Forum.</span><span style="font-family: georgia, palatino; font-size: medium;">&nbsp;</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">&nbsp;</span></p> <p style="line-height: 26px;"><span style="font-family: georgia, palatino; font-size: medium;"><img style="display: block; margin-left: auto; margin-right: auto;" src="http://dbprng00ikc2j.cloudfront.net/userimages/101642/4cut/20150128091057-Procession.jpg" alt="" /></span></p> <p style="line-height: 26px; text-align: center;"><span style="font-family: georgia, palatino; font-size: x-small;"><em>Procession</em>, Paresh Maity, Courtesy India Art Fair&nbsp;</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;"><strong>6. <em>Procession</em></strong><strong>, Paresh Maity</strong></span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;"><em>Procession</em> pays tribute to the tenacious energy and humble achievements of the ant. This installation of 50 insects will fill you with a curiously prickly kind of awe.</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">&nbsp;</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;"><img src="http://dbprng00ikc2j.cloudfront.net/userimages/101642/4cut/20150128081238-Francesco-Clemente-Taking-Refuge-3.jpg" alt="" /></span></p> <p style="line-height: 26px; text-align: center;"><span style="font-family: georgia, palatino; font-size: x-small;">Francesco Clemente, <em>Taking Refuge&nbsp;</em></span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;"><strong>7. <em>Taking Refuge</em></strong>, <strong>Francesco Clemente</strong></span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">Clemente&nbsp;has spent time living with master tent makers in Jodhpur (read ArtSlant's recent review of his tents and India-inspired work&nbsp;<a href="http://www.artslant.com/ny/articles/show/41569" target="_blank">here</a>). Inside this large tent you&rsquo;ll find multiple blue and grey painted Buddhas figured with the heads of cats and mice. Its beautifully crafted exterior presents colorful gold appliqu&eacute;. It sounds like the den from your darkest childhood nightmares but <em>Taking Refuge</em> is an immersive study on reincarnation.</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">&nbsp;</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">&mdash;Philippa Malicka</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">&nbsp;</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: x-small;">(Image at top: Francesco Clemente <em>Taking Refuge</em>)</span></p> Wed, 28 Jan 2015 12:49:45 +0000 http://www.artslant.com/cn/Articles/list http://www.artslant.com/cn/Articles/list Seven Years On, India Art Fair Is Poised to Be Stronger Than Ever <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">Sandwiched between </span><a style="font-family: georgia, palatino; font-size: medium;" href="http://www.artstagesingapore.com/">Art Stage Singapore</a><span style="font-family: georgia, palatino; font-size: medium;"> and </span><a style="font-family: georgia, palatino; font-size: medium;" href="http://www.artdubai.ae/">Art Dubai</a><span style="font-family: georgia, palatino; font-size: medium;">, the India Art Fair, now in its seventh edition, is relatively established in the region&rsquo;s fair circuit, one that has seen the takeover of the former Hong Kong Art Fair by the Big One: Art Basel. </span><a style="font-family: georgia, palatino; font-size: medium;" href="https://www.artbasel.com/en/Hong-Kong">Art Basel | Hong Kong</a><span style="font-family: georgia, palatino; font-size: medium;"> shows the growing interest the world has in the region&rsquo;s art, and also acts as a bridge connecting Asia with Australia. Positioned as India is between the Middle East and Far East, it has reliably showcased South Asia&rsquo;s art (India, Pakistan, Bangladesh, Sri Lanka) in past editions, displaying a healthy cultural camaraderie that defeats political suspicions.</span><span style="font-family: georgia, palatino; font-size: medium;">&nbsp;</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;"><img src="http://dbprng00ikc2j.cloudfront.net/userimages/32120/1dkh/20150128111137-Muhammad_Zeeshan__Gauguin__Gouache_and_laser_scoring_on_wasli__30x46_inches__2015.jpg" alt="" /></span></p> <p style="line-height: 26px; text-align: center;"><span style="font-family: georgia, palatino; font-size: x-small;">Muhammad Zeeshan, <em>Gauguin</em>, 2015, Gouache and laser scoring on wasli, 30 x 46 inches. Courtesy of Latitude 28</span></p> <p style="line-height: 26px; text-align: center;"><span style="font-family: georgia, palatino; font-size: x-small;">&nbsp;</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">Says Fair Director Neha Kirpal:</span></p> <blockquote> <p style="line-height: 26px; text-align: justify; padding-left: 30px;"><span style="font-family: georgia, palatino; font-size: medium;">India Art Fair has over the years established itself as South Asia&rsquo;s leading art fair for modern and contemporary art from across the world. The fair this year will have more domestic and regional focus with participation from galleries from tier-II cities and Pakistan, including artists of Pakistani origin. <a href="http://www.artchowk.com/">Art Chowk</a> (Karachi, Pakistan) will have a selection of contemporary works of different media curated around the theme &ldquo;The Politics of Aesthetics.&rdquo; Another artist of Pakistani origin, Mohammad Zeeshan (supported by <a href="http://www.latitude28.com/">Latitude 28</a>), will do a special project titled <em>On Indefiniteness</em>. In addition, the fair will host a Pakistani panel at the <a href="http://www.indiaartfair.in/document_pdf/Speaker%20Forum%20Schedule%202015.pdf">Speakers&rsquo; Forum</a> including Salima Hashmi (Dean, Beaconhouse National University School of Visual Arts and Design, Lahore); Quddus Mirza (Art critic, curator, and Head of Fine Art Department, National College of Arts, Lahore); Rashid Rana (Visual Artist and Associate Professor and Head of Fine Art Department, Beacon house National University, Lahore); and Adeela Suleman (Artist, Karachi) discussing&nbsp;&ldquo;Art, Histories, and their Discontents.&rdquo;</span></p> <p style="line-height: 26px; text-align: justify; padding-left: 30px;"><span style="font-family: georgia, palatino; font-size: medium;">&nbsp;</span></p> </blockquote> <div style="float: right; width: 250px; font-size: small; text-align: center; margin-right: 30px;"><img style="padding-bottom: 10px;" src="http://dbprng00ikc2j.cloudfront.net/userimages/32120/1dkh/20150127181853-Girish_Shahane__2_.JPG" alt="James Baldwin in 1971" width="250" /> <p style="font-family: arial, helvetica, sans-serif; font-size: small; color: #525552;"><span style="font-family: georgia, palatino; font-size: x-small; color: #000000;">Girish Shahane</span></p> </div> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">But, surely, something in the growing force of the region's art fairs, plus India&rsquo;s second edition of the </span><a style="font-family: georgia, palatino; font-size: medium;" href="http://www.artslant.com/ind/articles/show/41511">Kochi-Muziris Biennale</a><span style="font-family: georgia, palatino; font-size: medium;"> to contend with, has caused more than a seven year itch. Some re-invention is warranted, and for the first time since its inception, the India Art Fair has appointed an artistic director, Girish Shahane, who has several years of previous experience curating shows in galleries and public spaces. At India Art Fair's Speakers' Forum, his art talks programming brings in thinkers, artists, and curators to not only discuss art and relevant issues but to attract the now-initiated-but-wants-to-know-more regular to the art fair. Kirpal affirms, &ldquo;Whilst the decision to bring on an Artistic Director is overdue for India Art Fair, it reflects the ongoing efforts to constantly improve the level of professionalism and the experience for fair visitors. As Artistic Director, Girish Shahane will be curating both the Speakers' Forum and the Artistic Projects, designing these elements of the fair in order to bring a more comprehensive and coordinated experience to fair goers.&rdquo;&nbsp;</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">It&rsquo;s not an easy task to coordinate art thought into the realm of deeper understanding at an art fair. After all, the premise for the fair is sales&mdash;with some 90 booths and 85 galleries&mdash;and booth after booth stocks the hot tickets, what is <em>au courant</em>, among galleries&rsquo; stables of artists. To bind an idea thematically, as a curator would at a biennale, is nigh impossible. Shahane has to combat not only the content but the location of that content. When asked how different the process was from other shows he&rsquo;d curated in the past and whether the audience played a role in selecting what he decided upon, Shahane explains:</span></p> <blockquote> <p style="line-height: 26px; text-align: justify; padding-left: 30px;"><span style="font-family: georgia, palatino; font-size: medium;">The Special Projects within the tents of the art fair are interspersed among gallery booths, so it is difficult to make any connection between the different projects. This is different from curated exhibitions where exhibits all hang together. I was conscious of the art fair audience being a mix of people with little exposure to art and those who are very knowledgeable. I selected projects that I thought would appeal to both categories.</span></p> </blockquote> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">One wonders if a separate enclosure for the Special Projects' artistic endeavors would have had more impact&mdash;like, for example, Art Unlimited at Art Basel, which touts itself as &ldquo;a pioneering exhibition platform for projects that transcend the limitations of a classical art show stand.&rdquo; Indeed, Unlimited, housed in a warehouse-like space with soaring ceilings, allows for large installations and cinematic film projections, bringing a biennial feel into the art fair. Perhaps the general masses at New Delhi are not ready for this quite yet; interspersing the tents among the booths seems to be a tentative, wise beginning.</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;"><img src="http://dbprng00ikc2j.cloudfront.net/userimages/32120/1dkh/20150127181238-Seakers_forum_at_IAF_2014_.JPG" alt="" /></span></p> <p style="line-height: 26px; text-align: center;"><span style="font-family: georgia, palatino; font-size: x-small;">Speakers' Forum at India Art Fair 2014</span></p> <p style="line-height: 26px; text-align: center;"><span style="font-family: georgia, palatino; font-size: x-small;">&nbsp;</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">Adds Shahane about the Speakers&rsquo; Forum,&nbsp;</span><span style="font-family: georgia, palatino; font-size: medium;">&ldquo;As with the Special Projects, I wanted to appeal to all sections, but the approach was a bit different, in that there are a few specialized panels, and others with a broader appeal.&rdquo; Panel discussions this year cover topics such as &ldquo;Private Collections, Public Domains,&rdquo; &ldquo;Collaborative Practices in Art&rdquo; and &ldquo;Heritage Tourism and Cultural Policy.&rdquo; A special section &ldquo;Spotlight Series&rdquo; at the YES Bank Lounge features shorter talks with artists and curators.</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">In addition, Kirpal highlighted for us further new innovations at the fair this year.</span></p> <blockquote> <p style="line-height: 26px; text-align: justify; padding-left: 30px;"><span style="font-family: georgia, palatino; font-size: medium;">There are a range of exciting new elements being added to the mix for the 7th edition of India Art Fair, including a number of firsts. We are seeing <a href="http://www.artslant.com/ind/articles/show/41898" target="_blank">new levels of corporate engagement</a> from a number of major organizations who, as part of the CSR [corporate social responsibility] initiatives, are promoting art awareness through the gifting of art fair passes to their staff. In addition, a series of organized lunches, meetings and social gatherings at the fair will facilitate deeper cultural engagement between a range of groups, with established art patrons meeting new collectors, galleries meeting architects, and a range of international museum groups meeting each other. The 2015 edition of India Art Fair will also bring greater focus on the confluence of art and design. In another first, we have invited Mumbai-based architect and designer, Ashiesh Shah to co-host and curate India Art Fair&rsquo;s closing party, entitled &ldquo;Chand LC,&rdquo; and inspired by Le Corbusier&rsquo;s work and aesthetic. This will be held at Le Meridien February 1st, 2015. &nbsp;</span></p> </blockquote> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">The India Art Fair has grown from its crowded early fair floor plans to a spacious layout, the wide aisles warmly accommodating the impromptu chats of art aficionados. A</span><span style="font-family: georgia, palatino; font-size: medium;">s the calendar of events around the fair expands, t</span><span style="font-family: georgia, palatino; font-size: medium;">hese chats are an increasingly necessary filter for what to see, what not to miss, or where to meet later. Expect to hear chatter about the </span><a style="font-family: georgia, palatino; font-size: medium;" href="http://ngmaindia.gov.in/">National Gallery of Modern Art</a><span style="font-family: georgia, palatino; font-size: medium;">'s RAQS Media Collective retrospective </span><em style="font-family: georgia, palatino; font-size: medium;">Asamayavali/Untimely Calendar</em><span style="font-family: georgia, palatino; font-size: medium;"> and Mrinalini Mukherjee's solo show; the </span><a style="font-family: georgia, palatino; font-size: medium;" href="http://www.deviartfoundation.org/">Devi Art Foundation</a><span style="font-family: georgia, palatino; font-size: medium;">'s&nbsp;</span><em style="font-family: georgia, palatino; font-size: medium;">Fracture: Indian Textiles, New Conversations</em><span style="font-family: georgia, palatino; font-size: medium;">, curated by Mayank Mansingh Kaul with Rahul Jain and Sanjay Garg; </span><em style="font-family: georgia, palatino; font-size: medium;">Bodily Tactics |</em><em style="font-family: georgia, palatino; font-size: medium;">Kyoto Casual </em><span style="font-family: georgia, palatino; font-size: medium;">at the </span><a style="font-family: georgia, palatino; font-size: medium;" href="http://www.jfindia.org.in/">Japan Foundation</a><span style="font-family: georgia, palatino; font-size: medium;">; and CAMP&rsquo;s </span><em style="font-family: georgia, palatino; font-size: medium;"><a href="http://studio.camp/event.php?id=253">As If &ndash; II: Flight of the Black Boxes</a></em><span style="font-family: georgia, palatino; font-size: medium;"> at 24 Jor Bagh&mdash;just a few must-sees this year.&nbsp;</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;"><img src="http://dbprng00ikc2j.cloudfront.net/userimages/32120/1dkh/20150128111601-1D2.jpg" alt="" /></span></p> <p style="line-height: 26px; text-align: center;"><span style="font-family: georgia, palatino; font-size: x-small;">CAMP,&nbsp;<em>As If &ndash; II: Flight of the Black Boxes</em>,&nbsp;24 Jor Bagh</span></p> <p style="line-height: 26px; text-align: center;"><span style="font-family: georgia, palatino; font-size: x-small;">&nbsp;</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">So put on sensible trainers and bundle up warm against the cold; you are going to be tearing around much of Delhi using the Fair as fulcrum. For the uninitiated, it's not a city to negotiate easily&mdash;traffic and venues are far apart and take up much of the time, so sensible planning is a necessity to make the most of all the happenings. In fact, you can start each day right with breakfast: at the <a href="http://gujralfoundation.org/">Gujral Foundation</a>&rsquo;s Outset breakfast series, talk gets serious over coffee and croissants; artists Jeremy Deller, Sarnath Banerjee, Shuddhabrata Sengupta, Ashok Sukumaran and Shaina Anand among others, will be yours for company.</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">&nbsp;</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">&mdash;<a href="http://www.artslant.com/global/artists/show/364333-deepika-sorabjee?tab=REVIEWS">Deepika Sorabjee</a></span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">&nbsp;</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;"><span style="font-size: x-small;">(Image at top:&nbsp;Visitors at the India Art Fair 2014 in New Delhi watching a performance by Anindita Dutta, supported by Latitude 28)</span><br /></span></p> Wed, 28 Jan 2015 11:33:41 +0000 http://www.artslant.com/cn/Articles/list http://www.artslant.com/cn/Articles/list India Art Fair 2015: A Round-Up of Delhi's Best Galleries <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">It's South Asia's leading art fair for international modern and contemporary art, and it's happening in New Delhi this week between January 29 and&nbsp;</span><span style="font-family: georgia, palatino; font-size: medium;">February 1. India Art Fair's seventh edition will continue its declared aim to be a crucial regional arena for displaying art and facilitating dialogue and art trade. Eighty-five galleries will showcase exciting developments in contemporary art practice to the Indian and international audience.</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">Delhi is arguably the country's art and culture capital, and many leading players of the city's gallery scene will be at the fair. H</span><span style="font-family: georgia, palatino; font-size: medium;">ere's a look our top picks among of them with a preview of what they will be bringing to IAF 2015:</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">&nbsp;</span></p> <p style="line-height: 26px; text-align: justify;"><strong><span style="font-family: georgia, palatino; font-size: medium;">Gallery Espace</span></strong></p> <p style="line-height: 26px;"><span style="font-family: georgia, palatino; font-size: medium;"><img style="display: block; margin-left: auto; margin-right: auto;" src="http://dbprng00ikc2j.cloudfront.net/userimages/101642/4cut/20150127155128-majnun_3.jpg" alt="" /></span></p> <p style="text-align: center;"><span style="font-family: georgia, palatino; font-size: x-small;">Nilima Sheikh,&nbsp;<em>Majnun 3</em>, 2014</span></p> <p style="text-align: center;"><span style="font-family: georgia, palatino; font-size: x-small;">&nbsp;</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;"><a href="http://www.galleryespace.com/" target="_blank">Gallery Espace</a> celebrated its 25th birthday last year, having evolved into one of the city's most distinguished galleries to present art of primarily Indian artists from multiple generations. The gallery will be showcasing artists from both India and neighboring countries at IAF 2015, and as part of the Fair's Special Projects, in association with Chemould Prescott, the gallery will be presenting a collaborative painting-as-performance project by Chitra Ganesh and Dhruvi Acharya over the fair's four day period: it will seek to provide a window into the artists' work processes and the architecture of a painting's construction.&nbsp;</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">&nbsp;</span></p> <p style="line-height: 26px; text-align: justify;"><strong><span style="font-family: georgia, palatino; font-size: medium;">Vadehra Art Gallery</span></strong></p> <p style="line-height: 26px;"><span style="font-family: georgia, palatino; font-size: medium;"><img style="display: block; margin-left: auto; margin-right: auto;" src="http://dbprng00ikc2j.cloudfront.net/userimages/101642/4cut/20150127123305-Vadehra_Art_Gallery.JPG" alt="" /></span></p> <p style="line-height: 26px; text-align: center;"><span style="font-family: georgia, palatino; font-size: x-small;">Vadehra Art Gallery</span></p> <p style="line-height: 26px; text-align: center;"><span style="font-family: georgia, palatino; font-size: x-small;">&nbsp;</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;"><a href="http://www.vadehraart.com/" target="_blank">Vadehra Art Gallery</a> has been promoting contemporary art from India through its programs and publications for over 25 years. In 2006, it broadened its scope to exhibit works of superstars such as Pablo Picasso and Lucian Freud as well, making these artists accessible to local audiences. One of its booth highlights at IAF will be a special selection of works of one of India's greatest contemporary artists, the late MF Husain, which the gallery has collected for many years. Rare and unique pieces will be exhibited together with memorabilia, press notes, and other intimate remnants of Husain&rsquo;s long and intimate relationship with the gallery.</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">&nbsp;</span></p> <p style="line-height: 26px; text-align: justify;"><strong><span style="font-family: georgia, palatino; font-size: medium;">Nature Morte</span></strong></p> <p style="line-height: 26px;"><span style="font-family: georgia, palatino; font-size: medium;"><img style="display: block; margin-left: auto; margin-right: auto;" src="http://dbprng00ikc2j.cloudfront.net/userimages/101642/4cut/20150127121935-_Recycled_Nature_Morte.JPG" alt="" /></span></p> <p style="line-height: 26px; text-align: center;"><span style="font-family: georgia, palatino; font-size: x-small;">Faig Ahmed<em>,&nbsp;Recycled.</em>&nbsp;Courtesy Nature Morte</span></p> <p style="line-height: 26px; text-align: center;"><span style="font-family: georgia, palatino; font-size: x-small;">&nbsp;</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">Originally founded in New York's East Village in 1982 before closing down in 1988, Peter Nagy revived <a href="http://www.naturemorte.com/" target="_blank">Nature Morte </a>in New Delhi, as both a commercial gallery and curatorial experiment. The gallery now delves into experimental art, championing conceptual, lens-based and installation genres. At the India Art Fair they will be showcasing ten artists, including leading international installation artist, Subodh Gupta and documentary photographer, Gauri Gill. A booth will be specifically dedicated to Azerbaijani artist, Faig Ahmed, who translates the language of traditional carpets into that of contemporary art, creating bridges between cultures and historical periods.</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">&nbsp;</span></p> <p style="line-height: 26px; text-align: justify;"><strong><span style="font-family: georgia, palatino; font-size: medium;">Latitute 28</span></strong></p> <p style="line-height: 26px; text-align: center;"><img src="http://dbprng00ikc2j.cloudfront.net/userimages/101642/4cut/20150127165011-Dhananjay_Singh__Tree__stainless_steel_and_copper_wire__30x15.5x16__2014.jpg" alt="" /></p> <p style="line-height: 26px; text-align: center;"><span style="font-family: georgia, palatino; font-size: x-small;">&nbsp;Dhananjay Singh<em> Tree</em>. Courtesy Latitude 28</span></p> <p style="line-height: 26px; text-align: center;"><span style="font-family: georgia, palatino; font-size: x-small;">&nbsp;</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;"> <a href="http://www.latitude28.com/" target="_blank">Latitude 28</a> denotes Delhi's geographical coordinates but the venue also positions itself firmly on the city's art terrain. Located in the urban village of Lado Sarai&mdash;home to many of the city's leading galleries&mdash;it is an incubator of cutting edge art forms and innovative modes of looking at and engaging with it. Latitude 28 will be presenting a melange of mediums ranging from installations, sculptures, video works through ten leading contemporary artists from Southeast Asia; Dhananjay Singh, for instance, brings a poetic ode to life with the resilient force of energy depicted in Dylan Thomas' "The force that through the green fuse drives the flower" in the form of a complex matrix of stainless steel and copper wire, entitled <em>Tree</em> (2014).</span></p> <p style="line-height: 26px;"><span style="font-family: georgia, palatino; font-size: medium;">&nbsp;</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;"><strong>Exhibit 320</strong></span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;"><strong><img src="http://dbprng00ikc2j.cloudfront.net/userimages/32120/1dkh/20150128100514-Nandan_Ghiya__The_Pet_Pixel_Unveiling_of_our_Ancestors__Acrylic__Wood__MDF__Digital_Print__Mixed_Media___22.25x_25.25x_3ineach__set_of_3___2014_2__-_Exhibit_320.jpg" alt="" /></strong><br /></span></p> <p style="line-height: 26px; text-align: center;"><span style="font-family: georgia, palatino; font-size: x-small;">Nandan Ghiya,<em> &nbsp;The Pet Pixel Unveiling of our Ancestors</em>, 2014, Mixed media. Courtesy of Exhibit 320</span></p> <p style="line-height: 26px; text-align: center;"><span style="font-family: georgia, palatino; font-size: x-small;"><em>&nbsp;</em></span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">Open since 2009 and also located in the art hub of Lado Sarai, <a href="http://www.exhibit320.com/" target="_blank">Exhibit 320</a> is synonymous with the articulation of a unique contemporary Indian art vocabulary. Its exhibition space is primarily dedicated to new media explorations, locating and encouraging emerging artists. Its new venture, 1after320, expands the possibilities of what art can be and how interfacing with art can occur beyond the white cube through educational initiatives. At IAF, they showcase ten Indian artists' work, one of them being Nandan Ghiya, who&mdash;simply put&mdash;defaces. His act of defacement questions the shrinking of traditional heritage and culture whilst focusing on the globalization and standardization of the world through a binary digital/virtual spectrum.</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">&nbsp;</span></p> <p style="line-height: 26px; text-align: justify;"><strong><span style="font-family: georgia, palatino; font-size: medium;">Galleryskye</span></strong></p> <p style="line-height: 26px;"><span style="font-family: georgia, palatino; font-size: medium;"><img style="display: block; margin-left: auto; margin-right: auto;" src="http://dbprng00ikc2j.cloudfront.net/userimages/101642/4cut/20150127121725-Bharti_Kher_-_Galleryske.JPG" alt="" /></span></p> <p style="line-height: 26px; text-align: center;"><span style="font-family: georgia, palatino; font-size: x-small;">Bharti Kher. Courtesy of Galleryskye</span></p> <p style="line-height: 26px; text-align: center;"><span style="font-family: georgia, palatino; font-size: x-small;">&nbsp;</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">A Bangalore-based venture which opened in Delhi in 2013, the decade-old <a href="http://galleryske.com/">Galleryskye</a> works in close collaboration with artists, favoring works which are informed, sensitive, and conceptually layered. Having identified some of the country's most exciting young artists in a short span of time, the gallery will be featuring those working across various disciplines, including Bharti Kher as well as an IAF Special Project in which Sudharshan Shetty presents a series of stills taken from film footage of an Indian home, excavating the latent cinematic potential buried within the quotidian and domestic.</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">&nbsp;</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">&mdash;<a href="http://www.artslant.com/global/artists/show/411804-priyanka-sacheti?tab=REVIEWS" target="_blank">Priyanka Sacheti</a></span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">&nbsp;</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: x-small;">(Image at top: Vadhera Art Gallery)</span></p> Wed, 28 Jan 2015 10:49:56 +0000 http://www.artslant.com/cn/Articles/list http://www.artslant.com/cn/Articles/list Paris Dispatches: Three Weeks Walking, a Tally <p style="line-height: 26px; text-align: justify;" dir="ltr"><em style="font-family: georgia, palatino; font-size: medium;">Paris Dispatches is <a href="http://www.artslant.com/global/artists/show/213864-brett-day-windham?tab=REVIEWS" target="_blank">the blog</a> of ArtSlant's Georgia Fee Artist in Residence, Brett Day Windham, who will be undertaking her residency in Paris during January and February 2015. She will be using the blog to share her process, work, and experience throughout the residency. You can find more information about ArtSlant's Georgia Fee Artist/Writer Residency&nbsp;<a href="http://www.artslant.com/par/articles/show/33747" target="_blank">here</a>.</em><span style="font-family: georgia, palatino; font-size: medium;"><br /></span></p> <p style="line-height: 26px; text-align: justify;" dir="ltr"><em style="font-family: georgia, palatino; font-size: medium;">&nbsp;</em></p> <p style="line-height: 26px; text-align: justify;" dir="ltr"><span style="font-family: georgia, palatino; font-size: medium;">Today marks three weeks in Paris.</span></p> <p style="line-height: 26px; text-align: justify;" dir="ltr"><span style="font-family: georgia, palatino; font-size: medium;">So far I have found (among other things) reams of caution tape, bits of strapping, a pile of zippers, a tiny hand, Christmas tree bows, a tassel, a lighter, a button with an emblem of a Roman horse, a lollipop, a photograph of a girl with a sweet note to her father on the back, champagne cork-wire, <em>Nous Sommes Charlie</em> stickers, an earring, perfumed cards, a neon palm tree drink stirrer, various feathers, various new year&rsquo;s confetti, various flowers, and a boatload of Metro tickets.</span></p> <p style="line-height: 26px; text-align: center;" dir="ltr"><span style="font-family: georgia, palatino; font-size: medium;"><img src="https://lh5.googleusercontent.com/eokHt8NDNyuzNhGl2b7s8vt90eViBoUE2pB4KRvkFZBLVrIb0tea4Cl-Btxrn9fwCkJ06_d-tueJU486s392PBdQKSnAS_LPjIeRInFskeoPtH9uNErTnewvrIQONdKTyw" alt="IMG_0543.JPG" width="299px;" height="400px;" /><img src="https://lh6.googleusercontent.com/o1wHqGZRUgkfykDLYghaP7ieI2FWzAAHUF4kN2hKjTWOdKqLp86rGHFeiuq0iz5Uv9e0EOthlhgVpd-5wQPsC9TXVnM6XZwzNO9n3TNMLcdsXSgTkJUkV_YpHcqgAu-RlA" alt="IMG_0503.JPG" width="297px;" height="397px;" /></span></p> <p style="line-height: 26px; text-align: center;" dir="ltr"><span style="font-family: georgia, palatino; font-size: small;">(left) A tiny hand (right) Photographing L&rsquo;Opera from the traffic median</span></p> <p style="line-height: 26px; text-align: center;" dir="ltr"><span style="font-family: georgia, palatino; font-size: small;">&nbsp;</span></p> <p style="line-height: 26px; text-align: justify;" dir="ltr"><span style="font-family: georgia, palatino; font-size: medium;">Aside from unbelievable amounts of dogshit, the sidewalks are bare. Metro tickets are the most prevalent thing on the ground in Paris. At my father&rsquo;s suggestion, I have begun to collect them extensively, and then to string them together with a needle and thread&mdash;purchased at the wonderful <a href="http://www.rougier-ple-paris3.fr" target="_blank">Rougier &amp; Pl&eacute;</a> in the Marais&mdash;into a long kinetic fringe. I have started making strange pencil sketches for how these assorted odds and ends could be woven together into a &ldquo;tapestry&rdquo;&mdash;and the metro ticket fringe will certainly create a terrific bottom edge.</span></p> <p style="line-height: 26px; text-align: justify;" dir="ltr"><span style="font-family: georgia, palatino; font-size: medium;">After three weeks I also thought it seemed like a good time to make some summaries, as they provide me with a (semi-imaginary) structure:</span></p> <p style="line-height: 26px;" dir="ltr"><span style="font-family: georgia, palatino; font-size: medium;"><img style="display: block; margin-left: auto; margin-right: auto;" src="http://dbprng00ikc2j.cloudfront.net/userimages/32120/1dkh/20150127111535-Screen_Shot_2015-01-27_at_12.15.02_PM.png" alt="" /></span></p> <p style="line-height: 26px;" dir="ltr"><span style="font-family: georgia, palatino; font-size: medium;"><img style="display: block; margin-left: auto; margin-right: auto;" src="https://lh4.googleusercontent.com/MZkNe6p9Ch8Wx0HfkRC1ure7bxQKG2l786rclxaBo0vJzdwectzzpcKz8P2JKg1bQuCd_aGaL0RzjYmYLydSEotY5tqbe6OZlaChrFrf5YIBgiK_NADdUPXgP_Ey6eMcoA" alt="map_january_26_2015.jpg" width="624px;" height="376px;" /></span></p> <p style="line-height: 26px; text-align: center;" dir="ltr"><span style="font-family: georgia, palatino; font-size: small;">A center section of the map drawing, January 25th, 2015</span></p> <p style="line-height: 26px; text-align: center;" dir="ltr"><span style="font-family: georgia, palatino; font-size: small;">&nbsp;</span></p> <p style="line-height: 26px; text-align: justify;" dir="ltr"><span style="font-family: georgia, palatino; font-size: medium; text-align: justify;">The competitor in me (the one who prefers to compete with herself) would love to improve my averages in everything every week, but this is art, not sport (I think), so today will be a studio day. Also, it&rsquo;s raining. Also, I don&rsquo;t want to go back to the doctor with pneumonia and a fractured heel; the paving stones are trying to have their way with my feet. So.</span></p> <p style="line-height: 26px; text-align: justify;" dir="ltr"><span style="font-family: georgia, palatino; font-size: medium; text-align: justify;">&nbsp;</span></p> <p style="line-height: 26px;" dir="ltr"><span style="font-family: georgia, palatino; font-size: medium;"><img style="display: block; margin-left: auto; margin-right: auto;" src="https://lh5.googleusercontent.com/1W6gf7gJtdLltncLWcMiWM9Vtyc3TV9xlKO9sD6M4oe2yFPvWJQ8GlerqxNBaDVG965cl3HTfYQ-kMfgcKjGGdiZcgipLv-iU8XeAWJ6H8EA2fYwfAUCK7Q88iZHeMV4Lg" alt="Sheet_from_a_Book_of_the_Dead,_ca._1075-945_B.C.E.,_37.1699E.jpg" width="624px;" height="361px;" /></span></p> <p style="line-height: 26px; text-align: center;" dir="ltr"><span style="font-family: georgia, palatino; font-size: small;">Sheet from a Book of the Dead, c. 1075 - 945 BCE, <a href="http://www.brooklynmuseum.org/opencollection/objects/118223/Sheet_from_a_Book_of_the_Dead" target="_blank">Brooklyn Museum</a>, Courtesy Wikipedia Commons</span></p> <p style="line-height: 26px; text-align: center;">&nbsp;</p> <ol style="line-height: 26px; text-align: justify;"> <li style="line-height: 26px; text-align: justify;" dir="ltr"> <p style="line-height: 26px; text-align: justify;" dir="ltr"><span style="font-family: georgia, palatino; font-size: medium;">Total Cemeteries: Three. As is now well documented, <a href="http://www.artslant.com/ny/articles/show/41847" target="_blank">I am a death tourist</a>. P&egrave;re Lachaise, Montparnasse, and Montmartre. According to my friend <a href="http://www.area17.com/people/george-eid" target="_blank">George</a>, the <a href="http://www.sacred-texts.com/egy/ebod/" target="_blank">Book of the Dead</a> affirms that staying close to the dead is a good practice, as it re-affirms life.</span></p> </li> <li style="line-height: 26px; text-align: justify;" dir="ltr"> <p style="line-height: 26px; text-align: justify;" dir="ltr"><span style="font-family: georgia, palatino; font-size: medium;">Total Museums: Four. Pathetic. Now that fashion week is over, perhaps they won&rsquo;t be occupied by models.</span></p> </li> <li style="line-height: 26px; text-align: justify;" dir="ltr"> <p style="line-height: 26px; text-align: justify;" dir="ltr"><span style="font-family: georgia, palatino; font-size: medium;">Total Grand Magazins: Four: Printemps, BHV, Galeries Lafayette.</span></p> </li> <li style="line-height: 26px; text-align: justify;" dir="ltr"> <p style="line-height: 26px; text-align: justify;" dir="ltr"><span style="font-family: georgia, palatino; font-size: medium;">Total Parks: Nineteen? Pretty good. Some are closed for winter.</span></p> </li> <li style="line-height: 26px; text-align: justify;" dir="ltr"> <p style="line-height: 26px; text-align: justify;" dir="ltr"><span style="font-family: georgia, palatino; font-size: medium;">Total horrible french computer viruses (contracted by my Mac!?): One.</span></p> </li> <li style="line-height: 26px; text-align: justify;" dir="ltr"> <p style="line-height: 26px; text-align: justify;" dir="ltr"><span style="font-family: georgia, palatino; font-size: medium;">Total articles of clothing/shoes bought at SOLDES: Eight. (oops)</span></p> </li> <li style="line-height: 26px; text-align: justify;" dir="ltr"> <p style="line-height: 26px; text-align: justify;" dir="ltr"><span style="font-family: georgia, palatino; font-size: medium;">Total <a href="https://www.youtube.com/watch?v=W-Lik4qTAK4" target="_blank">Galettes</a> eaten: Two (looking forward to eating many many many more).</span></p> </li> <li style="line-height: 26px; text-align: justify;" dir="ltr"> <p style="line-height: 26px; text-align: justify;" dir="ltr"><span style="font-family: georgia, palatino; font-size: medium;">Total pastries discovered: Two. Sabl&eacute;s (comme ci comme &ccedil;a) and <a href="https://www.google.fr/search?q=tarte+tropezienne&amp;client=safari&amp;rls=en&amp;biw=1264&amp;bih=795&amp;tbm=isch&amp;tbo=u&amp;source=univ&amp;sa=X&amp;ei=nlvGVKKkPIyP7Ab88YCoBw&amp;ved=0CEwQsAQ" target="_blank">tarte tropezienne</a> (comme to me, delicious floaty miracle). But I digress.</span></p> <p style="line-height: 26px; text-align: justify;" dir="ltr"><span style="font-family: georgia, palatino; font-size: medium;">&nbsp;</span></p> </li> </ol> <p style="line-height: 26px; text-align: center;" dir="ltr"><span style="font-family: georgia, palatino; font-size: medium;"><img src="https://lh6.googleusercontent.com/8icAncd33ouatxRGiuux-j17eZkkiDy-Drj79OHSpuxSBx5mkIZXvxm8Sq2YTGJlDWoWkZyM46yR1slp57BVaTFFKSJCURXUvKQKACGiA6ew8f_e_-VXPnVzhaY5snWxPw" alt="IMG_0515.JPG" width="297px;" height="409px;" /><img src="https://lh4.googleusercontent.com/52ejX90L7v77NCQHkPbq7t_XYTKJLEnDkc9J0qoGlN4hfMrceMAdaYQrSzVNBUA77WNxGOQjpmL0VLOzRufuRr6PFfQfhV-ogTO6QALEU4I0SyDSrqNgzlQup86jvbi8sQ" alt="IMG_0528.JPG" width="296px;" height="409px;" /></span></p> <p style="line-height: 26px; text-align: center;" dir="ltr"><span style="font-family: georgia, palatino; font-size: small;">(left) The domed ceiling at Galeries Lafayette (right) Haircut trees at the Eiffel Tower</span></p> <p style="line-height: 26px; text-align: center;" dir="ltr"><span style="font-family: georgia, palatino; font-size: small;">&nbsp;</span></p> <p style="line-height: 26px; text-align: justify;" dir="ltr"><span style="font-family: georgia, palatino; font-size: medium;">I&rsquo;ve had seven lovely people agree to walk aimlessly through this city with me. Here they are:</span></p> <p style="line-height: 26px; text-align: justify;" dir="ltr"><span style="font-family: georgia, palatino; font-size: medium;">&nbsp;</span></p> <ol style="line-height: 26px; text-align: justify;"> <li style="line-height: 26px; text-align: justify;" dir="ltr"> <p style="line-height: 26px; text-align: justify;" dir="ltr"><span style="font-family: georgia, palatino; font-size: medium;">Carolyn Windham - Mother. La touriste.</span></p> </li> <li style="line-height: 26px; text-align: justify;" dir="ltr"> <p style="line-height: 26px; text-align: justify;" dir="ltr"><span style="font-family: georgia, palatino; font-size: medium;">Howard Windham - Father. The O.G. walking/street-combing artist.</span></p> </li> <li style="line-height: 26px; text-align: justify;" dir="ltr"> <p style="line-height: 26px; text-align: justify;" dir="ltr"><span style="font-family: georgia, palatino; font-size: medium;">Matty Hart - founder of <a href="http://www.thelafayettepractice.com/partners/matty/" target="_blank">The Lafayette Practice</a>, an unbelievable dream walking partner. At some point I&rsquo;ll devote a whole post to Matty, but I&rsquo;m hoping we&rsquo;ll walk again first.</span></p> </li> <li style="line-height: 26px; text-align: justify;" dir="ltr"> <p style="line-height: 26px; text-align: justify;" dir="ltr"><span style="font-family: georgia, palatino; font-size: medium;">Barrett Hanrahan - fellow <a href="http://www.risd.edu/" target="_blank">RISD</a> alum, former co-worker, good luck charm (I find the best things while walking to caf&eacute;s and bars with this girl).</span></p> </li> <li style="line-height: 26px; text-align: justify;" dir="ltr"> <p style="line-height: 26px; text-align: justify;" dir="ltr"><span style="font-family: georgia, palatino; font-size: medium;">Miranda Salt - the lovely, smart ad exec with a sharp eye for art. Ms. Salt taught me that it is against French law to make people work in windowless spaces. She realized that the building that her agency occupies had an enormous lower floor they couldn&rsquo;t use. She <a href="http://www.passagedudesir.com/evenement.php?idp=4&amp;lg=EN" target="_blank">transformed it into an incredible alternative art/cultural space</a>, le Passage du D&eacute;sir, which is unfortunately not in operation right now, but which I would love to see anyway. Maybe I can wrangle a visit to the empty space! Still, she fed me delicious caf&eacute;s at <a href="http://www.yelp.com/biz/chez-madame-gen-paris" target="_blank">Madame Gen</a>, provided me with one of the best conversations I&rsquo;ve had in weeks, and walked me through the arcades. Which turn out to be gritty, narrow, and sad. We&rsquo;ll talk about that later.</span></p> </li> <li style="line-height: 26px; text-align: justify;" dir="ltr"> <p style="line-height: 26px; text-align: justify;" dir="ltr"><span style="font-family: georgia, palatino; font-size: medium;">George Eid, my old friend: founder of <a href="https://krrb.com/" target="_blank">Krrb </a>and <a href="http://www.area17.com/" target="_blank">Area 17</a>...</span></p> </li> <li style="line-height: 26px; text-align: justify;" dir="ltr"> <p style="line-height: 26px; text-align: justify;" dir="ltr"><span style="font-family: georgia, palatino; font-size: medium;">...and his enthusiastic daughter Sibylle, who used her French book of nature to create a frame our walk: searching for birds! sticks! dogs! leaves! We were not searching for a random drunk British butcher on a quiet Sunday, but we found him anyway.</span></p> </li> <li style="line-height: 26px; text-align: justify;" dir="ltr"> <p style="line-height: 26px; text-align: justify;" dir="ltr"><span style="font-family: georgia, palatino; font-size: medium;">Upcoming: <a href="http://nudesandgraze.com/?p=1073">Miss Kristen Roller</a>, super chic fashionista and smart girl/badass will tour Versailles with me on Friday. We will dress up.</span></p> </li> </ol> <p style="line-height: 26px; text-align: justify;">&nbsp;</p> <p style="line-height: 26px; text-align: center;" dir="ltr"><span style="font-family: georgia, palatino; font-size: medium;"><img src="https://lh4.googleusercontent.com/c0Wx8zw7DZJ6Z7_y4Rh76FAJKGc7zSvPkRZU15B5pMMMLOBOxrwIWQMPmBkklaXjHrQSP8Baty3IP7RFOjsbsLKdypYmyOW7h9Z8WSU-H8VQ9liccGHLLzyRuMliXYFmLQ" alt="FullSizeRender.jpg" width="297px;" height="396px;" /><img src="https://lh3.googleusercontent.com/v7hCpXqDESc9L0L6emnTbsFPXufCuDxS6rWDdWWc7JphRBAuYxLxg4tVpIN9fZkUR_ZyDKWtd6sezzelh6Uy7X41YnFSKR1wBrja9F-NJTt2SEDDjKxizuyGSN3nZIZkcg" alt="FullSizeRender.jpg" width="296px;" height="395px;" /></span></p> <p style="line-height: 26px; text-align: center;" dir="ltr"><span style="font-family: georgia, palatino; font-size: small;">(left) The carousel at &icirc;le de la Cit&eacute; (right) Amazing water-carafe-on-head street shenanigans</span></p> <p style="line-height: 26px; text-align: justify;"><br /><br /></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">&mdash;<a href="http://www.artslant.com/global/artists/show/213864-brett-day-windham" target="_blank">Brett Day Windham</a></span></p> <p style="line-height: 26px; text-align: justify;" dir="ltr"><em><span style="font-family: georgia, palatino; font-size: small;">&nbsp;</span></em><span style="font-size: 12px;">&nbsp;</span></p> <p style="line-height: 26px; text-align: justify;" dir="ltr"><span style="font-size: medium;"><em><span style="font-family: georgia, palatino;"><a href="http://brettdaywindham.com/" target="_blank">Brett Day Windham </a>(born Cambridge, England, raised Providence, Rhode Island) is a multidisciplinary artist working with sculpture, installation and collage. You can find the full list of blog posts from her Paris residency <a href="http://www.artslant.com/global/artists/show/213864-brett-day-windham?tab=REVIEWS" target="_blank">here</a>.</span></em></span>&nbsp;</p> Tue, 27 Jan 2015 11:37:25 +0000 http://www.artslant.com/cn/Articles/list http://www.artslant.com/cn/Articles/list One Year of Filmmakers: Why One Gallery Is Dedicating 2015 to the Moving Image <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">Dedicating its programming to the work of seven noted filmmakers, <a href="http://www.kow-berlin.info/texts/home" target="_blank">KOW in Berlin</a> gives its exhibition space over to the moving image in 2015. The year&rsquo;s roster includes Germany </span><span style="font-family: georgia, palatino; font-size: medium;">representatives for</span><span style="font-family: georgia, palatino; font-size: medium;">&nbsp;this year&rsquo;s Venice Biennale, Tobias Zielony and Hito Steyerl, pioneering feminist and experimental cinematographer Barbara Hammer, Russian activist collective Chto Delat?, Mario Pfeifer, Renzo Martens, and Clemens von Wedemeyer.&nbsp;</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">Why is it so important to show and engage with film and video work?</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">The moving image has firmly established itself within contemporary arts discourse over the years. These days, museums and institutions worldwide commonly program works by prominent filmmakers and artists&mdash;e.g.&nbsp;<a href="http://www.schaulager.org/smq/en/" target="_blank">Steve McQueen</a>, <a href="https://galleryofmodernart.wordpress.com/2014/06/27/generation-douglas-gordon/" target="_blank">Douglas Gordon</a>&mdash;and more and more are assembling collections and engaging in the preservation of video and time-based artworks; <a href="http://www.artslant.com/mia/articles/show/41441" target="_blank">art fair organizers</a> and commercial galleries alike highlight the medium in their agendas. Art schools are in on the game too: Central Saint Martins in London even has a specifically designed Master of Research program, <a href="http://www.arts.ac.uk/csm/courses/postgraduate/mres-art-moving-image/" target="_blank">Moving Image</a>, dedicated to the research, theory, and practice of contemporary film and video artists&rsquo; work.</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;"><img src="http://dbprng00ikc2j.cloudfront.net/userimages/32120/1dkh/20150126143928-KOW_CVW_001.jpg" alt="" /></span></p> <p style="line-height: 26px; text-align: center;"><span style="font-family: georgia, palatino; font-size: x-small;">Clemens von Wedemeyer, <em>The Cast: Procession</em>, Video still, 2013, HD Video, 15 min
. &copy; Clemens von Wedemeyer and VG BildKunst, Bonn / Courtesy of Clemens von Wedemeyer and KOW, Berlin</span></p> <p style="line-height: 26px; text-align: center;"><span style="font-family: georgia, palatino; font-size: x-small;">&nbsp;</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">Certainly this growing engagement with video and time-based artworks speaks to a recognized importance of the medium&rsquo;s ability not only to express, but also to affect our modern lives. Artists have been making video works and media art since the 1960s and today their uses of time-based media ranges from primary sources to complimentary tools for topping up artworks such as sculpture, photography, and most notably installation art. One reason for its popularity amongst contemporary artists might be that, where some might argue that still imagery stays more permanently in the collective memory, the moving image is able to express and capture emotions, which have much deeper impact on the viewer. In 2014</span><span style="font-family: georgia, palatino; font-size: medium;">, for example,</span><span style="font-family: georgia, palatino; font-size: medium;">&nbsp;the KW Contemporary Art Institute in Berlin organized&nbsp;</span><a style="font-family: georgia, palatino; font-size: medium;" href="http://www.artslant.com/ber/articles/show/38663" target="_blank"><em>Real Emotions: Thinking in Film</em></a><span style="font-family: georgia, palatino; font-size: medium;">. The exhibition's curators argued that as a mass medium the moving image not only affects our collective experiences, but also influences our views on reality. Staged or real, documentary or experimental, the medium is inevitably a part of our times.</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">I sent some questions on the subject of the moving image to KOW&rsquo;s Alexander Koch on the occasion of the gallery's&nbsp;<a href="http://www.kow-berlin.info/news/2014_programm_2015" target="_blank">One Year of Filmmakers</a>&nbsp;program, not to mention the upcoming inclusion of gallery artists Zielony and Steyerl in Germany&rsquo;s 2015 <a href="http://www.ifa.de/fileadmin/pdf/presse/03_Folkwang_ifa_en.pdf" target="_blank">Venice Biennale presentation</a>.&nbsp;<em>Resistant Images in Times of Digital Overexposure,</em>&nbsp;curated by Florian Ebner, will tackle questions related to the presence of images in contemporary life.</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;"><img src="http://dbprng00ikc2j.cloudfront.net/userimages/32120/1dkh/20150126143840-KOW_TZ_001.jpg" alt="" /><br /></span></p> <p style="line-height: 26px; text-align: center;"><span style="font-family: georgia, palatino; font-size: x-small;">Exhibition view of <em>Tobias Zielony / Dream Lovers. The Films 2008-2014</em>&nbsp;at KOW Berlin. &copy; Tobias Zielony
 / Photo: Ladislav Zajac/ KOW / Courtesy of Tobias Zielony and KOW, Berlin</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">&nbsp;</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;"><strong><em>Teodora Kotseva: </em></strong><strong><em>The KOW's gallery program for 2015 seems to be dedicated to the moving image. What was the driving force behind this decision?</em></strong></span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;"><strong>Alexander Koch:</strong> I think we are all aware how important moving images are for contemporary art. So many progressive artists have chosen video and film in the past decades, and&nbsp;with the technological progress,&nbsp;the given acceptance of these media in leading art institutions today, and the predominance and popularity of moving image cultures for all of us&mdash;worldwide&mdash;film and video have occupied a central place within the aesthetic practices and debates of the art world. Without doubt they are of great relevance for the history of art that is being written today and tomorrow. Especially socially-oriented art makes extensive usage of the moving image, partly due to the possible documentarism, partly because of the complexity a time-based medium allows, and partly because if you want to relate to the world we live in, cinema, television, YouTube and alike are inevitably a big part of that world.</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">Among the sixteen artists that we represent at KOW, six of them are primarily filmmakers and five have frequently worked with moving images. Some of them have been widely recognized for this work. So it is evident for us to highlight this part of our program and the diversity that exists within this specific field of &ldquo;video&rdquo; positions that we present. At the same time, we will not only show a film program. Many artists have adopted filmmaking as one practice fully on a par with others, and our intention is to inform a broader public about the usage of film and video as part of a larger conceptual framework, that at times it is inseparable from sculpture, installation, photography, etc. Neither the art world, nor the practice of one individual artist, is divided into still image vs. moving image, object vs. screen, white cube vs. black box.&nbsp;We want to highlight the entanglements of different media tactics and draw attention to the methodological diversity that filmmakers bring to contemporary art.</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;"><img src="http://dbprng00ikc2j.cloudfront.net/userimages/32120/1dkh/20150126143742-KOW_BH_001.jpg" alt="" /></span></p> <p style="line-height: 26px; text-align: center;"><span style="font-family: georgia, palatino; font-size: x-small;">Barbara Hammer, 
<em>If You're Bi, Goodby</em>, 1982, Hand-painted photograph, 28 x 35.4 cm. &copy; Barbara Hammer / Courtesy of Barbara Hammer and KOW, Berlin</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;"><img src="http://dbprng00ikc2j.cloudfront.net/userimages/32120/1dkh/20150126143805-KOW_BH_002.jpg" alt="" /></span></p> <p style="line-height: 26px; text-align: center;"><span style="font-family: georgia, palatino; font-size: x-small;">Barbara Hammer, 
Escape, 1984, 
Hand-painted photograph, collage, 27.8 x 35.5 cm. &copy; Barbara Hammer / Courtesy of Barbara Hammer and KOW, Berlin</span></p> <p style="line-height: 26px; text-align: center;"><span style="font-family: georgia, palatino; font-size: x-small;">&nbsp;</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;"><strong><em>TK: By showing works of noted filmmakers such as Barbara Hammer, do you think you slightly step in the shoes of public institutions?</em></strong></span></p> <p style="line-height: 26px; text-align: justify;"><strong style="font-family: georgia, palatino; font-size: medium;">AK:</strong><span style="font-family: georgia, palatino; font-size: medium;"> To be honest, we think we did this since we started KOW in 2009. It was our ambition to present a curated program that makes it quite hard to draw the distinction between our work and the work of an institution. Not because we want to compete against institutions, but because serious display and mediation of contemporary art is not so different in a gallery or in an institution, and because we need an answer to the crisis caused by institutional budget cuts, making it harder every year to maintain the content quality we used to expect from museums, art centers, and alike. We need to find out if galleries can assure this quality plus the production costs for exigent projects.</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">So one answer to the question might be to create a private economy for contemporary art's ambitions, not only through generating commodities, but a context in which progressive art can be seriously produced, observed, and understood&mdash;as much on the level of its content as on the level of its economic value. This ambition was always true for good galleries, wasn&rsquo;t it? With regard to the filmmakers who are important within the art world it should be evident for any gallery, as much as for any museum, that their work must be part of the conversation as long as you want to look at the whole picture and not only at a fragment defined by the choice of a specific medium.</span></p> <p style="line-height: 26px; text-align: justify;"><strong style="font-family: georgia, palatino; font-size: medium;"><em>TK: Within the discourse of preservation, what role does the art gallery and the private collector assume in preserving the legacy of video artists and filmmakers?</em></strong></p> <p style="line-height: 26px; text-align: justify;"><strong style="font-family: georgia, palatino; font-size: medium;">AK:</strong><span style="font-family: georgia, palatino; font-size: medium;"> Some collectors have made great contributions to the methodologies of preservation. It is in their interest as much as it is in the interest of museums. And since galleries have a responsibility for the sustainability of the media they sell, and since they often need to advise collectors in technical matters, there is a lot of care and innovation coming from galleries. At least we can say for our own practice that we had to learn and develop many skills in order to be able to seriously deal with the different formats of new media. It needs to become as natural as your knowledge about the durability of oil on canvas, synthetic resin, or photographic paper. Sometimes artists have not cared so much about issues of preservation&mdash;they rightly cared more about the next project to come&mdash;putting the legacy of their work almost at risk. In such cases the support of a gallery can be of crucial importance, also historically. &nbsp; &nbsp;</span><em style="font-family: georgia, palatino; font-size: medium;">&nbsp;&nbsp;</em></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;"><em><img src="http://dbprng00ikc2j.cloudfront.net/userimages/32120/1dkh/20150126143659-KOW_MP_001.jpg" alt="" /></em></span></p> <p style="line-height: 26px; text-align: center;"><span style="font-family: georgia, palatino; font-size: x-small;">Mario Pfeifer, 
<em>Approximation in the digital age to a humanity condemned to disappear</em>, Film still, 2014, Cinema 4K, color, stereo, 61 min
. &copy; Mario Pfeifer / Courtesy of Mario Pfeifer and KOW, Berlin</span></p> <p style="line-height: 26px; text-align: center;"><span style="font-family: georgia, palatino; font-size: x-small;">&nbsp;</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;"><strong><em>TK: You have an archive and editions collection. What kind of access to video works you can offer to your public? How do you choose which works to include?</em></strong></span></p> <p style="line-height: 26px; text-align: justify;"><strong style="font-family: georgia, palatino; font-size: medium;">AK: </strong><span style="font-family: georgia, palatino; font-size: medium;">We stand for the entire oeuvre of the artists we represent and not only for the works we have under consignment. Therefore we can usually provide you with all films you want to see. If not immediately, give us a few days. Our own policy of accessibility is very generous in the sense that we do not believe in any reduction of relevance or value if a video is online in full length, or if curators and critics get free copies for their research and keep them in their private library. YouTube and Vimeo make our work much easier and cheaper than sending DVDs around the world, and they help to make a work accessible to potentially anybody. We like that, and you will find many videos directly on our website.</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">But every artist has her or his own policy. Some prefer trailers for their distribution, some prefer film stills, and others want everything up on the web. Of course we do respect the choices of our artists, but we suggest they not be afraid of being taken less seriously if their projects circulate beyond the margins of what they or we can control. What counts for us at the end of the day is the right to public presentation. And public screenings are only legal if the work is officially on loan or has been acquired together with the certificate that guarantees the right to present it within specific conditions. The same is true for the financial value. No certificate equals zero value. Unless you find a Broodthaers original film reel in the attic. &nbsp; &nbsp; &nbsp;&nbsp;</span><span style="font-family: georgia, palatino; font-size: medium;">&nbsp;</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;"><strong><em>TK: With the ever-increasing interest from institutions, museums, and art fairs, do you think video art (here I use the term in a very broad context) is the most sought out medium in our time?</em></strong></span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;"><strong>AK:</strong> Video or film art is <a href="http://www.artslant.com/ew/articles/show/41380" target="_blank">certainly not</a> the most demanded medium on the art market. There is still a huge gap between the presence of moving images in institutional exhibitions and in private and public collections, and at art fairs. At some biennials half of the images move; in some museums and at some fairs almost none of them do. As a commodity, film and video play in the second league, with some exceptions. That is not only bad, but also the market is still incoherent with regard to the public and professional appreciation of many works. There are videos that most of us have seen and considered as important contributions to contemporary art, but that have almost never been sold, which often means that not even the production costs are covered. The same is rarely true for the traditional media. This will change though, and it is changing every year. I don't think that in 20 years this will be much of an issue. We will have other issues then: We will certainly see an interesting development once a Bruce Nauman video goes for the price of a Francis Bacon&mdash;and this might happen.&nbsp;</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;"><img src="http://dbprng00ikc2j.cloudfront.net/userimages/32120/1dkh/20150126143618-KOW_CD_001.jpg" alt="" /></span></p> <p style="line-height: 26px; text-align: center;"><span style="font-family: georgia, palatino; font-size: x-small;">Chto Delat?, 
<em>The Excluded. In a Moment of Danger</em>, Film still, 2014, 
Four-channel film installation. &copy; Chto Delat? / Courtesy of Chto Delat? and KOW, Berlin</span></p> <p style="line-height: 26px; text-align: center;"><span style="font-family: georgia, palatino; font-size: x-small;">&nbsp;</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;"><strong><em>TK: Can you recommend three works to see by your artists?</em></strong></span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;"><strong>AK:</strong> That's tough. Consider these three:&nbsp;</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">Chto Delat?:&nbsp;<em>The Excluded. In a Moment of Danger,</em> 2014. A four channel video installation negotiating the space between repression and resistance in contemporary Russia in a very entertaining and touching way. On display at KOW in March and April.</span><span style="font-family: georgia, palatino; font-size: medium;">&nbsp;</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">Barbara Hammer: Have a look at her films from the early seventies. Especially <em>X</em> from 1975. It anticipates so many things we became familiar with later. Those films have written history at a time when visual arts and experimental film were two different worlds in the eyes of many people. Today they are not, and it is important that we pull important productions from earlier days into our awareness and display them as part of our visual culture within art institutions and collections. Also for the very reason of preservation.&nbsp;</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">Hito Steyerl: Be curious to see her project for the German Pavilion at the Venice Biennale.</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">&nbsp;</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">&mdash;<a href="http://www.artslant.com/global/artists/show/280904-teodora-kotseva?tab=REVIEWS" target="_blank">Teodora Kotseva</a></span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">&nbsp;</span><span style="font-family: georgia, palatino; font-size: medium;">&nbsp;</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: x-small;">(Image at top: Tobias Zielony, 
<em>The Street (C.P.A.)</em>, Video still, 2013,
 HD Video / stop motion, 2:3, Color, silent 1:57 min
. &copy; Tobias Zielony / Courtesy of Tobias Zielony, KOW, Berlin and Galleria Lia Rumma)</span></p> Mon, 26 Jan 2015 15:38:13 +0000 http://www.artslant.com/cn/Articles/list http://www.artslant.com/cn/Articles/list Conceptual Intent: The Recent Emergence of Crime Art <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">I have been thinking, for the last week or so, about art and criminality. Not so much about the inherent criminality of the art world, necessarily&mdash;whether this dealer or that dealer might also be involved in the arms trade, or ruminating on the more subjective </span><em style="font-family: georgia, palatino; font-size: medium;">moral</em><span style="font-family: georgia, palatino; font-size: medium;"> brand of &ldquo;criminality&rdquo; present in the sale of an eighteen-million-estimate artwork&mdash;but the literal "<em>P</em></span><em style="font-family: georgia, palatino; font-size: medium;">ush me Pull you"</em><span style="font-family: georgia, palatino; font-size: medium;">&nbsp;relationship which the two &ldquo;concepts,&rdquo; have been enacting in my peripheral vision. </span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">Several recent news items make up a kind of proto-zeitgeist in this regard: first, the <a href="http://nypost.com/2015/01/12/no-one-believed-this-former-professor-would-rob-a-bank/" target="_blank">Boston Professor</a> arrested for attempted robbery last week, excused as dubious fodder for an art film; then <a href="http://www.deepdotweb.com/2015/01/18/bot-drugs-deep-web/" target="_blank">the robot programmed to shop for illegal goods</a> on the deep web, and finally&mdash;most intriguing of all&mdash;the episode of the U.S. rape-thriller <em>Law and Order: S.V.U.</em>&nbsp;aired on the 14th of January concerning an actor/performance artist accused of doping and dumping a teen girl.</span></p> <p style="line-height: 26px; text-align: center;"><span style="font-family: georgia, palatino; font-size: medium;"><img src="http://dbprng00ikc2j.cloudfront.net/userimages/101642/4cut/20150126133323-010915gibbons2sh.jpg" alt="" /></span></p> <p style="line-height: 26px; text-align: center;"><span style="font-family: georgia, palatino; font-size: x-small;">Joseph Gibbons Photo: Steven Hirsch</span></p> <p style="line-height: 26px; text-align: center;"><span style="font-family: georgia, palatino; font-size: x-small;">&nbsp;</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">That this character is a supposed hybrid of Shia LaBeouf and James Franco is in fact perhaps the second most interesting thing about the episode: the first is actually its real world look at an unreal art world (there is a thesis, or at least a Tumblr account, for the way that popular culture believes that &ldquo;art&rdquo; looks, but this topic is too coherent&mdash;frankly, too sane&mdash;for my present pinball state of mind). This aside: a criminal mode of making art &ldquo;is [about] the romantic idea of the artist getting involved in these kinds of activities as a kind of research,&rdquo; as the shamed Professor argues in his own defense. &ldquo;[And] gaining experience.&rdquo;</span><span style="font-family: georgia, palatino; font-size: medium;">&nbsp;</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;"><em>Gaining experience</em>, indeed! The Franco/LaBeouf chimera&rsquo;s suitcase-stuffed groupie, at first, is written off as a creep show publicity stunt; the Random Darknet Shopper robot, meanwhile, seeks to &ldquo;directly [connect] the Darknet with the art space&rdquo; with its purchases of fake Hungarian passports and replica denim. To some degree, the popularity of the romantic ideaof the marriage of art and crime&mdash;or of art and the criminally dangerous act&mdash;is so typical as to be boring. In handing her body over to the mercy of an audience which she has armed with a gun, Marina Abramovic becomes our William Tell; the anonymous Banksy, our stencilled-in Robin Hood. Caravaggio was a thug, and Pablo Picasso&mdash;famously&mdash;was an asshole.</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">Consider the motivational quotes by Werner Herzog circulating wildly on social media, lately (who knew, incidentally, that so many of the vaguely <em>right-on </em>students that you were with at art school liked Werner Herzog so much?): &ldquo;There is nothing wrong with spending a night in jail if it means getting the shot you need.&rdquo; Or, for that matter: &ldquo;Carry bolt cutters everywhere.&rdquo; Is this real radicality? Maybe it is, given Herzog's age and standing, or given the need for media-training and lapdog-lite <em>goodness</em> in most of the better-indoctrinated of the New Young Faces of Art&mdash;<em>sit; stay; attain corporate sponsorship; sell an installation to Jay Z, or a canvas to a hotelier</em>&mdash;or maybe the vast majority are still easily amazed by rebellion, packaged or otherwise.</span><span style="font-family: georgia, palatino; font-size: medium;">&nbsp;</span></p> <p style="line-height: 26px; text-align: center;"><span style="font-family: georgia, palatino; font-size: medium;"><img src="http://dbprng00ikc2j.cloudfront.net/userimages/101642/4cut/20150126133510-wpid-13009183051.jpg" alt="" /></span></p> <p style="line-height: 26px; text-align: center;"><span style="font-family: georgia, palatino; font-size: x-small;">James Franco, Dicknose in Paris, 2008</span></p> <p style="line-height: 26px; text-align: center;"><span style="font-family: georgia, palatino; font-size: x-small;">&nbsp;</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">We imagine slipping on lawlessness as we would a disguise&mdash;a cat-burglar&rsquo;s balaclava, in which the very slipping on-and-off of <em>badness itself </em>becomes important. One need only look at reactions to the work of the <em>real</em>&nbsp;(or the &ldquo;real&rdquo;) James Franco, whose projects like <em><a href="http://www.artslant.com/ber/articles/show/33579" target="_blank">Gay Town</a></em>&nbsp;and <em>Dicknose In Paris</em>, while not examples of actual illegality, are left-of-center enough in their art-school provocation to make him a safe, freaky foil for the normies. A self-identified straight man, playing at queerness; an A-List beauty playing at ugliness with his shaven head and his cultivated paunch, and his close proximity to Seth Rogen (with apologies to Seth). These transgressions are easily undone, or passed off as irony, or as mildly nutso &ldquo;experimentation.&rdquo; They are equivalent, in their own way, to the act of robbing a bank and then calling it &ldquo;film research,&rdquo; or of using a robot patsy to surf the black market. What links these stories is not simply &ldquo;art and criminality,&rdquo; but a kind of <em>phony </em>criminality which can be excused by art, for better or worse. A canny opt-out for the half-committed, or a safety-net for the shrewd.</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">As I say: these are simply things about which I&rsquo;ve been thinking, as I circle the drain of my own subconscious during pitch-meetings, Skype calls, and dinners; as such, I wouldn&rsquo;t perpetrate the crime myself of describing this text as a real, coherent think-piece. I would invite you, though, to imagine the kind of crimes which you might enact were you able to discount them as pure performance. Can murder be art, if intent is conceptual? Does the victim&rsquo;s identity make a murder more profound? Is killing permissible if the choice of weapon is truly ironic? If liberating a silver-plated Tiffany cigar tube from the shelf is, according to the liberator, a comment on both the unfair distribution of wealth, and the widespread scale of cancer&mdash;on the medical difficulties of the poor who live in countries without healthcare&mdash;is the liberation beyond reproach? If James Franco faked his death and sold the story to the <em>National Enquirer</em>, would it be an artwork?&nbsp; Feel free to swap your brushes for bolt-cutters; make a still-life of a body in suitcase in lieu of a bowl of fruit; steal freely with specific conceptual purpose. </span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">Brian Eno has posited that the key to understanding art is to cease to think of the works themselves as objects at all, and instead to begin to think about them as &ldquo;triggers for experiences.&rdquo; We might easily consider a robbery or a kidnapping or an embezzlement, then, as meaningful a "trigger for experience" as a Futurist sculpture.</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">&nbsp;</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">&mdash;<a href="http://www.artslant.com/global/artists/show/265136-philippa-snow?tab=REVIEWS" target="_blank">Philippa Snow</a></span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">&nbsp;</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: x-small;">(Image at top: Screenshot of&nbsp;<em>Law &amp; Order S.V.U.</em>, "Agent Provocateur," aired January 14, 2015)</span><span style="font-family: georgia, palatino; font-size: medium;">&nbsp;</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">&nbsp;</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">&nbsp;</span></p> Wed, 28 Jan 2015 16:31:17 +0000 http://www.artslant.com/cn/Articles/list http://www.artslant.com/cn/Articles/list First Look: Borondo's Big London Solo Show <p style="text-align: justify;"><span style="line-height: 26px; text-align: justify; font-family: georgia, palatino; font-size: medium;">His delicate large-scale paintings have floated on canal boats and he's one of </span><a style="line-height: 26px; text-align: justify; font-family: georgia, palatino; font-size: medium;" href="http://www.complex.com/style/2014/12/20-best-murals-of-2014/" target="_blank">Complex mag's</a><span style="line-height: 26px; text-align: justify; font-family: georgia, palatino; font-size: medium;">&nbsp;favorite muralists of 2014&mdash;part of a street art sub-genre we like to call "sensitive graf." Borondo, who lives and works in a former pub in Hackney, uses his art to express the melodrama of human living, the soaring peeks and plunging troughs of our mortal condition&mdash;one reason he was drawn to the character of Ophelia in his now well-known floating work.</span></p> <p style="text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium; line-height: 26px; text-align: justify;">From February 5th, the young Spanish artist will take over <a href="http://londonewcastle.com/arts-programme/venues-and-initiatives/londonewcastle-project-space/" target="_blank">Londonewcastle Project Space</a> with his first major solo gig, <em>Animal</em>. The show will divide the gigantic space into eight thematic areas, each containing multiple works including painting, animation, video, and sculptural installation</span><span style="font-family: georgia, palatino; font-size: medium; line-height: 26px; text-align: justify;">&mdash;some made in collaboration with artists Carmen Main, Edoardo Tresoldi, and Despina Charitonidi&mdash;which together will discuss the beast in man.</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">ArtSlant got a few exclusive glimpses of the upcoming work inside the artist's studio&mdash;posted below together with a selection of our favorite Borondo murals around the world&mdash;ahead of the London opening, courtesy of curators Rom Levy and&nbsp;<a href="http://www.artslant.com/ew/articles/show/41453" target="_blank">Charlotte Dutoit</a>.</span></p> <p><span style="font-family: georgia, palatino;"><img src="http://dbprng00ikc2j.cloudfront.net/userimages/101642/4cut/20150123111431-Borondo_Paris.jpg" alt="" /></span></p> <p style="text-align: center;"><span style="font-family: georgia, palatino;"><span style="font-size: small;">Paris</span><img src="http://dbprng00ikc2j.cloudfront.net/userimages/101642/4cut/20150123111413-Borondo_London.jpg" alt="" />&nbsp;<span style="font-size: small;">Ophelia on a canal boat in London</span></span></p> <p><span style="font-family: georgia, palatino;"><img src="http://dbprng00ikc2j.cloudfront.net/userimages/101642/4cut/20150123111351-Borondo_Italy.jpg" alt="" /></span></p> <p style="text-align: center;"><span style="font-family: georgia, palatino; font-size: small;">Italy</span></p> <p style="text-align: center;"><span style="font-family: georgia, palatino; font-size: small;">&nbsp;</span></p> <p><span style="font-size: medium;"><strong><span style="font-family: georgia, palatino;">New photos from the artist's studio:</span></strong></span></p> <p><span style="font-family: georgia, palatino;"><img src="http://dbprng00ikc2j.cloudfront.net/userimages/101642/4cut/20150123111219-Borondo_ScreenPrint_Process.jpg" alt="" /></span></p> <p><span style="font-family: georgia, palatino;"><img src="http://dbprng00ikc2j.cloudfront.net/userimages/101642/4cut/20150123111247-Borondo_Animal_Studio2.jpg" alt="" /></span></p> <p style="text-align: center;"><span style="font-family: georgia, palatino;"><img src="http://dbprng00ikc2j.cloudfront.net/userimages/101642/4cut/20150123111539-Borondo_Animal_Studio.jpg" alt="" /><span style="text-align: left;">&nbsp;</span></span></p> <p><span style="font-family: georgia, palatino;"><img src="http://dbprng00ikc2j.cloudfront.net/userimages/101642/4cut/20150123111122-Borondo_Animal_Artwork_Glass.jpg" alt="" /></span></p> <p>&nbsp;</p> <p><span style="font-family: georgia, palatino; font-size: medium;">&mdash;<a href="http://www.artslant.com/global/artists/show/162742-char-jansen?tab=REVIEWS" target="_blank">Char Jansen</a></span></p> <p>&nbsp;</p> <p>&nbsp;</p> <p><span style="font-family: georgia, palatino; font-size: small;">(All images: Borondo; Courtesy of the artist and Charlotte Dutoit; Image at top: Madrid)</span></p> Wed, 28 Jan 2015 09:26:49 +0000 http://www.artslant.com/cn/Articles/list http://www.artslant.com/cn/Articles/list Paris Dispatches: Merci, Georgia <p style="line-height: 26px; text-align: justify;" dir="ltr"><em style="font-family: georgia, palatino; font-size: medium;">Paris Dispatches is <a href="http://www.artslant.com/global/artists/show/213864-brett-day-windham?tab=REVIEWS" target="_blank">the blog</a> of ArtSlant's Georgia Fee Artist in Residence, Brett Day Windham, who will be undertaking her residency in Paris during January and February 2015. She will be using the blog to share her process, work, and experience throughout the residency. You can find more information about ArtSlant's Georgia Fee Artist/Writer Residency&nbsp;<a href="http://www.artslant.com/par/articles/show/33747" target="_blank">here</a>.</em><span style="font-family: georgia, palatino; font-size: medium;"><br /></span></p> <p style="line-height: 26px; text-align: justify;" dir="ltr"><em style="font-family: georgia, palatino; font-size: medium;">&nbsp;</em></p> <blockquote> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">We are not idealized wild things.</span></p> <p style="line-height: 26px; text-align: justify;" dir="ltr"><span style="font-family: georgia, palatino; font-size: medium;">We are imperfect mortal beings, aware of that mortality even as we push it away, failed by our very complication, so wired that when we mourn our losses we also mourn, for better or for worse, ourselves. As we were. As we are no longer. As we will one day not be at all.</span></p> </blockquote> <p style="line-height: 26px; text-align: justify; padding-left: 270px;" dir="ltr"><span style="font-family: georgia, palatino; font-size: medium;">―Joan Didion, <em>The Year of Magical Thinking</em></span></p> <p style="line-height: 26px; text-align: justify; padding-left: 270px;" dir="ltr"><span style="font-family: georgia, palatino; font-size: medium;"><em>&nbsp;</em></span></p> <p style="text-align: center;" dir="ltr"><img src="https://lh4.googleusercontent.com/8LiZgZmOehMANbFqqCZvtze_M-qaMPY4ItYj0C1XBY14QheLgcNynPR0G50zn-L0hYnT8uJrkEHHqhdvY-vLCWtd8FFyxzpqvFVnNTuv5l6aVBpAQ1Ljt4fumxfmiA9YqQ" alt="P1040889.JPG" width="624px;" height="351px;" /></p> <p style="line-height: 26px;" dir="ltr">&nbsp;</p> <p style="line-height: 26px; text-align: justify;" dir="ltr"><span style="font-family: georgia, palatino; font-size: medium;">Today I walked to P&egrave;re Lachaise. I took a weird unfriendly road that looked like a suburban truck route. It was a sad, flat, grey day to visit a cemetery. I misunderstood the geography and entered from the north exit. <em>Everyone will have a map here,</em> I thought, <em>at least I will have an excuse to use a map without shame. I&rsquo;ll get a map.</em> The handsome French-African guard told me I couldn&rsquo;t get a map from that end, I had to walk all the way through. &ldquo;<em>OK, d&rsquo;accord. Ce n&rsquo;est pas important pour moi. Merci. Bon journ&eacute;e!</em>&rdquo; I told him. </span></p> <p style="line-height: 26px; text-align: justify;" dir="ltr"><span style="font-family: georgia, palatino; font-size: medium;">I immediately became hopelessly lost. I was looking for Oscar Wilde, using just my memory of a map I&rsquo;d seen on a plaque. I walked in actual circles. More than one. Walking on the old paving stones is an act demanding constant attention, and I couldn&rsquo;t find north from south. I got more and more turned around. The heavy beauty of the broken tombs and twisting paths pushed down on me, and was intensified by the cold; it seeped through the bone. I felt deeply haunted. I was overwhelmed by the beauty. I was overwhelmed by decay. I couldn't process the lone roses blooming in January. I was a failure, and was being stalked by giant ravens. I felt grey and un-ingenue-like. I felt like a weirdo doing a weird thing in isolation.&nbsp;</span><span style="font-family: georgia, palatino; font-size: medium;">The ravens threw me a lot of side-eye, laughed at me. Finally, I realized I was really alone, and that meant that no one cared if I was screwing up royally, and I let go, and I wandered. I started enjoying the sensation. Sometimes It&rsquo;s good to be alone until you come around.</span></p> <p dir="ltr"><img style="display: block; margin-left: auto; margin-right: auto;" src="https://lh6.googleusercontent.com/SpNL5g2vP5DKcWe_wcEQ1DwaKQsr6JS3L7xU2dy_o4HMCnpTvNPtIgbtcA_1m0grfVlXjGOPL8bV6Desu8MKXXYbAz2DBr2Rn_jFOwNXy-LVBoLZbE0kW6XzH9njhSBs8g" alt="P1040893.JPG" width="624px;" height="351px;" /></p> <p style="line-height: 26px; text-align: justify;" dir="ltr"><span style="font-family: georgia, palatino; font-size: medium;">&nbsp;</span></p> <p style="line-height: 26px; text-align: justify;" dir="ltr"><span style="font-family: georgia, palatino; font-size: medium;">The ravens stayed close&mdash;spectral, menacing, playful. I really think this is how they are. I had a vision of them possessed by restless spirits of the Parisians below. I found the monument to the communist party, covered in roses. I found <a href="https://www.youtube.com/watch?v=7sBD3h9nuNY" target="_blank">Colette</a>. I followed the small hordes to <a href="http://jimmorrisonsparis.com/visual-history-of-jim-morrisons-grave/" target="_blank">Jim Morrison</a> and felt like a jerk for doing so. I will return for Moliere, Chopin, Caillebotte, Wilde, Melies, Wright, et al. I bought a map at the Metro after I left. When I return, I will make use of the grand, symmetrical, main entrance. </span></p> <p style="line-height: 26px; text-align: justify;" dir="ltr"><span style="font-family: georgia, palatino; font-size: medium;">Clearly, I am adjusting slowly to being cut off, being unto myself. Understanding only snippets of conversation around me, shying away from clumps of Americans hunched together against the cold. My days are so my own, so mercurial. I walk and walk and come home and collapse. I record my distance and steps and fall into a fitful sleep. I&rsquo;ve been perversely looking forward to the end of the January sales, the overwrought signs coming down, signaling the end of temptation. I&rsquo;ve been wondering if I can acclimate to cafe culture. I&rsquo;ve been reading Gail Scott&rsquo;s <em>My Paris</em> like each section is a postcard sent to me by my own alter ego&mdash;albeit smarter and more romantic and in the summertime. </span></p> <p style="line-height: 26px; text-align: justify;" dir="ltr"><span style="font-family: georgia, palatino; font-size: medium;">&ldquo;Studio Grant a Leisure Lottery.&rdquo; &mdash;Gail Scott, <em>My Paris</em>, p 15 </span></p> <p style="line-height: 26px; text-align: justify;" dir="ltr"><span style="font-family: georgia, palatino; font-size: medium;">What is it to work? How do we define work? How do we create discipline and still allow the walking and marinating and conjuring to happen? I am too old to believe that inspiration &ldquo;strikes&rdquo;...I know it reveals itself as a reward, when we are fully immersed and living inside an idea. That&rsquo;s the idea. Total immersion. I'm beginning to think about what can and might take shape here, from this immense gift I&rsquo;ve been given: two months in Paris, to do with whatever I can. I&rsquo;m beginning to lust after the possibilities of work, of evidence. Could there be a 3D print of my spidery, labyrinthine walking map? Could there be a series of photos of the incredible oversized trash that taunts me (arcade letters, piles of frosted pine trees, the entire contents of an apartment after a fire)?</span></p> <p style="line-height: 26px;" dir="ltr"><span style="font-family: georgia, palatino; font-size: medium;"><img style="display: block; margin-left: auto; margin-right: auto;" src="https://lh4.googleusercontent.com/0HoN54oMciomCeT4OCCAY9KS0Lu0lfDREK-h-3yuBHhIuoAbx56efIXIaHcQhy-jWAETWSVmGz05jlOA4VfhNI-6B_9rGTLhWGip3_ZY398IZNYHluUOH8idpUc0P-_FXA" alt="IMG_0462.JPG" width="624px;" height="468px;" /></span></p> <p style="line-height: 26px; text-align: justify;">&nbsp;</p> <p style="line-height: 26px; text-align: justify;" dir="ltr"><span style="font-family: georgia, palatino; font-size: medium;">Will the collection of trash&mdash;wrought from the strange, slim findings I hustle off the Paris streets (in advance of the overeager street cleaners)&mdash;allow me to wrestle it into the strange tapestry I see in my mind?</span></p> <p style="line-height: 26px; text-align: justify;" dir="ltr"><span style="font-family: georgia, palatino; font-size: medium;">&nbsp;</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">&mdash;<a href="http://www.artslant.com/global/artists/show/213864-brett-day-windham" target="_blank">Brett Day Windham</a></span></p> <p style="line-height: 26px; text-align: justify;" dir="ltr"><em><span style="font-family: georgia, palatino; font-size: small;">&nbsp;</span></em><span style="font-size: 12px;">&nbsp;</span></p> <p style="line-height: 26px; text-align: justify;" dir="ltr"><span style="font-size: medium;"><em><span style="font-family: georgia, palatino;"><a href="http://brettdaywindham.com/" target="_blank">Brett Day Windham </a>(born Cambridge, England, raised Providence, Rhode Island) is a multidisciplinary artist working with sculpture, installation and collage. You can find the full list of blog posts from her Paris residency <a href="http://www.artslant.com/global/artists/show/213864-brett-day-windham?tab=REVIEWS" target="_blank">here</a>.</span></em></span>&nbsp;</p> Fri, 23 Jan 2015 10:41:22 +0000 http://www.artslant.com/cn/Articles/list http://www.artslant.com/cn/Articles/list Finding Ryan Trecartin’s Friendster Profile, or, The Archive in the Age of Social Media <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;"><em>&nbsp;</em></span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;"><em>Imagine: one day in the near future, you might wake up to find that all of your Facebook friends are gone.</em></span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">A little while ago, while ostensibly doing research for a review I was writing on Ryan Trecartin and Lizzie Fitch&rsquo;s Regen Projects exhibition, I learned that Trecartin had essentially been &ldquo;discovered&rdquo; through Friendster. Curious, I went hunting for the evidence. What did Ryan Trecartin&rsquo;s Friendster profile look like? Who were his friends in the early 2000s? What did they talk about? For an artist who has built an empire out of representing the self-reflexive youth culture born from the posturing and interactions of the social media age, I was interested in how he had used the nascent social platform.</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">I was not at all prepared for what I found.</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">To put it mildly, Friendster ain&rsquo;t what it used to be.</span></p> <p style="line-height: 26px; text-align: justify;"><img src="http://dbprng00ikc2j.cloudfront.net/userimages/32120/1dkh/20150122110923-404.png" alt="" /></p> <blockquote> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: small; line-height: 14px;">Screenshot of Friendster&rsquo;s Inception-esque &ldquo;404 Not Found&rdquo; page, which reads, &ldquo;The information you&rsquo;re looking for is located in a page, within a page, within a page. In other words, it doesn&rsquo;t exist. Maybe in your dreams.&rdquo; Retrieved January 6, 2015</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: small; line-height: 14px;">&nbsp;</span></p> </blockquote> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">The &ldquo;grandfather of social networks&rdquo; is now &ldquo;a social gaming site based in Kuala Lumpur.&rdquo; Did you know this? In May 2011, the formerly pass&eacute; social network pivoted in a major way. In the face of its behemoth competitor, Facebook, Friendster threw in the towel in the social network game, and, along with it, all your old photos, messages, and connections.</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">What about Myspace&mdash;the other social networking casualty of Facebook? I found Trecartin&rsquo;s collaborator <a href="https://myspace.com/219000313">Lizzie Fitch</a> first, and then <a href="https://myspace.com/420126422">Trecartin&rsquo;s profile</a>, as well as other collaborators, Rhett LaRue, Kevin McGarry, and others. But Myspace&rsquo;s layout has been inexorably altered. Gone is the long string of public messages and exhortations of gratitude &ldquo;for the add!&rdquo; As Myspace moved to become primarily a music-sharing site, it drastically changed its design, moving away from its social networking origins. It, too, threw in the towel, and, with it, all your old messages, blogs, and bulletins.</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;"><img src="http://dbprng00ikc2j.cloudfront.net/userimages/32120/1dkh/20150122110650-trecartin_myspace.png" alt="" /></span></p> <blockquote> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: small; line-height: 14px;">Screenshot of Ryan Trecartin&rsquo;s Myspace profile. Retrieved January 17, 2015</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: small; line-height: 14px;">&nbsp;</span></p> </blockquote> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">In total, I wasn&rsquo;t able to glean much information about how early social networks might have been used by the Trecartin camp, and even if I had found some way to access it, what I might have found would probably be inconsequential (Trecartin <a href="http://artfcity.com/2010/10/05/afc-exclusive-artist-ryan-trecartin-debuts-riverthe-net/">has said</a> that he doesn&rsquo;t spend time on social networks). But I did realize just how precarious this information is, seeing as how it is essentially owned by private corporations.</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">Is it too early to feel nostalgic for interactions on early social networks? Maybe Friendster and Myspace should have just held on a few more years until we inevitably resurrected them as &ldquo;retro&rdquo; stylings. But private companies like this are not beholden to us as repositories for our memories. They exist to make money. Even when that means drastically changing their identities and missions.</span></p> <p style="line-height: 26px; text-align: justify;"><img src="http://dbprng00ikc2j.cloudfront.net/userimages/32120/1dkh/20150122110839-no_way.png" alt="" /></p> <blockquote> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: small; line-height: 14px;">Screenshot of Friendster&rsquo;s help screen, which tells you, &ldquo;Sorry but there really is no way to retrieve your old data.&rdquo; Retrieved January 6, 2015</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: small; line-height: 14px;">&nbsp;</span></p> </blockquote> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">Friendster claims to have warned its users that it was dumping all their private content in May 2011, offering them the chance to download all of their information in zip drives (I looked, but the last email I got from Friendster was in 2009; I found no word about the impending mass deletion, not that I would have noticed). Myspace didn&rsquo;t even bother, and in 2013 abruptly deleted users&rsquo; photos, messages, blogs, etc., to make way for a site redesign. Angry hordes of ex-Myspacers fulminated bitterly about the loss of years of diaries, poems, and messages from now-deceased loved ones. As <a href="http://www.marketingpilgrim.com/2013/06/myspace-deletes-your-stuff.html">one commentator astutely put it</a>: &ldquo;Lesson to be learned: we don&rsquo;t own our space in social media, we&rsquo;re only renting. Make sure you have backups of everything important even if it means taking screengrabs. This is Facebook ten years from now.&rdquo;</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">There will always be loss. Things slip through the cracks. An old box of photographs might disappear. A file folder with some old letters could be destroyed by a leak in the roof of your garage. A stack of old zines might get tossed by accident. An old floppy disk quietly slips into obsolescence. We can&rsquo;t expect to have access to everything in perpetuity.</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">I&rsquo;ll never be able to re-live old phone conversations, for example, so why should I expect to be able to re-visit old conversations online? Websites regularly change&mdash;links go missing, domains expire&mdash;so why should we expect our social media presence to remain accessible? This expectation is partially due to the way we approach social media: as an extension of ourselves. Friendster was probably our first foray into this practice of performing ourselves online. And Myspace promised just that: &ldquo;my space.&rdquo; Facebook offers us a &ldquo;timeline,&rdquo; and we can go back through the years, to re-experience our lives through the lens of our Facebook posts.</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">The internet exists in the tension between lasting memory and ephemerality; it&rsquo;s simultaneously a repository and flowing digital stream. The streaming art video application <a href="http://riverofthe.net/">riverthe.net</a>, launched in 2010 by Trecartin, embodies this flow, while newer social media applications, most notably Snapchat, embrace the internet&rsquo;s evanescence. But most digital artifacts that we upload from our maxed-out hard drives into the &ldquo;cloud,&rdquo; we, somewhat counter-intuitively, expect to be &ldquo;safe&rdquo; there, in those whispery tendrils of digital vapor. <a href="http://www.wired.com/2009/10/dogfooding-the-cloud-or-adventures-in-mixed-metaphor/">Until the cloud &ldquo;crashes&rdquo;</a>...</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;"><img src="http://dbprng00ikc2j.cloudfront.net/userimages/32120/1dkh/20150122103137-riverthe.png" alt="" /></span></p> <blockquote> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: small; line-height: 14px;">Screenshot from riverthe.net of a video uploaded under the tags &ldquo;poke&rdquo; &ldquo;krad.tv&rdquo; and &ldquo;artist.&rdquo; The video shows a screencast of someone &ldquo;poking&rdquo; Ryan Trecartin on Facebook (circa 2010 from the looks of it) and getting the error message, &ldquo;Ryan has not received your last poke. He&rsquo;ll get it the next time he logs in.&rdquo;</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: small; line-height: 14px;">&nbsp;</span></p> </blockquote> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">Writing about the vulnerability of digital information, Jon Ippolito notes in one of the chapters of <em><a href="http://re-collection.net/">Re-Collection: Art, New Media, and Social Media</a></em>, co-authored with Richard Rinehart and recently published by MIT Press:</span></p> <blockquote> <p style="line-height: 26px; text-align: justify; padding-left: 30px;"><span style="font-family: georgia, palatino; font-size: medium; line-height: 20px;">The popularity of participatory media has resulted in a virtual whirlwind of data that continues to swirl through a disembodied cyberspace after their creators are dead&hellip;As appealing as it may sound to live on after death as ghosts in the machine, we should remember two caveats. First, these disembodied deceased do not live on as ectoplasm but as echoes&mdash;fragments of email messages, long-gone websites still appearing in search results, photo accounts on Flickr that will never be updated or deleted because the owner has died and the password died with him. Second, these cases of computational media outliving humans are the exception rather than the rule, for their lifespans are still a fraction of their users&rsquo;; think of how many mobile phones the average person goes through in a lifetime, or how much longer the average Geocities user will live than the homepages each created, which Yahoo retired at the ripe old age of fourteen.<a title="" href="#_ftn1">[1]</a></span></p> </blockquote> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">Ippolito and Rinehart&rsquo;s book acknowledges that as our culture and social memory is increasingly &ldquo;born digital,&rdquo; we are facing a monumental task: finding a way not only to preserve and maintain these digital artifacts, but also to determine what is worth saving and how. They focus on the various, sometimes confusing and misunderstood challenges of preserving new media artworks, admitting that there is no one-size-fits-all approach to conserving art made in media that quickly obsolesce, from early net art to interactive video installations. Yet while there is an immediate and urgent need to find ways to preserve the works of art themselves, we also need to address the issue of preserving the records and documentation that surround the making, exhibition, and reception of art.</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">As a graduate student doing research for my thesis, I consulted MoMA's archives for information on a few artists pertinent to my study (the period in question was the 1970s&ndash;1980s in New York). Much of the material in the archives consisted of invitations to exhibitions, which had been mailed to MoMA, and then filed away in the appropriate artists' files. These announcements allowed me to piece together a chronology of exhibitions for these artists. Nowadays, however, these supplementary, ephemeral materials&mdash;exhibition announcements, installation photographs, invitations, correspondence&mdash;are increasingly born digital with no physical counterpart. And many of these are circulated primarily through proprietary social media applications like Facebook. At this moment, there is no dearth of documentation&mdash;we&rsquo;re video recording, live tweeting, and Instagramming every exhibition, art fair, and event imaginable&mdash;but because of the attitude we hold towards digital media, in which we equate present access with future permanence, there is little concern directed towards safeguarding this digital ephemera for posterity or for future scholarship. Librarians are, quite evocatively, calling this phenomenon the impending &ldquo;digital black hole.&rdquo;</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">In a <a href="http://www.nyarc.org/content/%E2%80%9Cce-projet-un-peu-fou%E2%80%9D-web-archiving-art-resources-nyarc">blog post on the New York Art Resources Consortium</a> (NYARC) website, Walter Schlect paints a very clear picture of the challenge we&rsquo;re facing:</span></p> <blockquote> <p style="line-height: 26px; text-align: justify; padding-left: 30px;"><span style="font-family: georgia, palatino; font-size: medium; line-height: 20px;">The ease with which users can navigate digital auction catalogs, catalogues raisonn&eacute;s and other art resources has also made them in danger of very suddenly and irrevocably disappearing. As software changes, certain information on websites can become unreadable, and as institutions evolve, digital-born publications may be removed from the web without a second thought. Websites that use dynamic and interactive software like flash provide are remarkably difficult features to save in a stable archival format. Web archiving software has difficulty capturing videos and audio. Don&rsquo;t even try to preserve mobile websites: we aren&rsquo;t there yet. More and more people and institutions are publishing art resources online; very few of them save these materials in an archival format made accessible to the general public.</span></p> </blockquote> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">The web gives us the impression of a condition of total abundance, of information overload and chronic oversharing, so to talk of scarcity sounds a bit ridiculous. If I want to find out information about an exhibition or an artist, a simple Google search would probably suffice. But fast forward a few years in the future, and that information might not be so forthcoming. Case in point: trying to locate Ryan Trecartin on an obsolete social network.</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">This information-rich era that we inhabit has so much potential, if we have the presence of mind to preserve it in some fashion. I contacted MoMA&rsquo;s archives to find out what measures they have put in place regarding the archiving of current digital ephemera, a question &ldquo;very much on our minds,&rdquo; according to MoMA librarian Jennifer Tobias. She directed me to a <a href="http://www.nyarc.org/content/web-archiving">pilot web archiving project by NYARC</a>, spearheaded by the libraries of MoMA, the Frick, and the Brooklyn Museum, and funded by the Andrew W. Mellon Foundation. Since 2012, the program has been creating archival copies of the websites of museums, galleries, and artists, and other art-rich media such as digital catalogues raison&eacute;es and auction catalogues, in an attempt to preserve web content that might otherwise be lost to the future researcher. This is a more than formidable task. The 2012 study that sparked the project admits, &ldquo;No library entity, whether a single specialized research institute, a small consortium such as NYARC, a large state university facility, or a well-endowed Ivy League library can alone tame the onslaught of born-digital media, even when narrowed to the universe of art scholarship.&rdquo;<a title="" href="#_ftn2">[2]</a></span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;"><img src="http://dbprng00ikc2j.cloudfront.net/userimages/32120/1dkh/20150122103535-amaliaulman.png" alt="" /></span></p> <blockquote> <p style="line-height: 26px; text-align: justify;"><span style="font-size: small; line-height: 14px;"><span style="font-family: georgia, palatino;">Amalia Ulman,&nbsp;<em>Excellences &amp; Perfections</em>,&nbsp;</span><span style="font-family: georgia, palatino;">2014, Screenshot of Amalia Ulman's archived Instagram project, as captured by Rhizome&rsquo;s Colloq tool. Retrieved January 17, 2015</span></span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-size: small; line-height: 14px;"><span style="font-family: georgia, palatino;">&nbsp;</span></span></p> </blockquote> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">As Rinehart observes in <em>Re-Collection, </em>while we might want to believe that &ldquo;a brilliant scientist in a hilltop lab somewhere or some authoritative government agency must have this all under control,&rdquo;<a title="" href="#_ftn3">[3]</a> scientists, librarians, and archivists are still very much grappling with the problem of preserving social memory in the digital age. In 2013, the Library of Congress announced that it would be <a href="http://www.businessinsider.com/library-of-congress-is-archiving-all-of-americas-tweets-2013-1">archiving all of America&rsquo;s Twitter feeds</a>, in a project of almost absurd proportions. In October, Rhizome offered a sneak peek of <a href="http://bits.blogs.nytimes.com/2014/10/19/a-new-tool-to-preserve-moments-on-the-internet/?_php=true&amp;_type=blogs&amp;_r=0">a revolutionary new tool</a> they are devising to archive social media feeds, essentially freezing them for a moment in time but retaining the functionality of some of the interactive navigation. (They demonstrated this by archiving Amalia Ulman&rsquo;s Instagram account, which you can browse in perpetuity <a href="http://webenact.rhizome.org/excellences-and-perfections/20141014150552/http://instagram.com/amaliaulman">here</a>, at the moment before the &ldquo;big reveal&rdquo; that the account was in actuality a durational performance.) Ippolito, who advised Rhizome on the project, frames it in terms of restoring power to the users over their own data: &ldquo;It puts the ability to capture data back in the hands of the individuals,&rdquo; he said to the <em>New York</em> <em>Times</em>. &ldquo;The user is in the driver&rsquo;s seat, instead of the social network that now owns that user&rsquo;s information.&rdquo; The tool, called Colloq, should be released to consumers at some point in the future.</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">But as of yet, most social media streams&mdash;a resource that holds so much potential&mdash;remain unarchived, and largely untapped as a source of art historical evidence. It&rsquo;s plausible, for instance, that future researchers might be able to piece together the emergence of new art movements based on the guest lists of Facebook event pages for obscure art shows. But who will archive these materials? What deserves to be preserved for posterity? Rinehart and Ippolito suggest that our best bet for preserving digital culture lies in the efforts of a decentralized populace, rather than relying solely on the archives of museums, libraries, and other institutions&mdash;in other words, it&rsquo;s up to us to preserve our own present.</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">&nbsp;</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">&mdash;<a href="http://www.artslant.com/global/artists/show/11505-natalie-hegert?tab=REVIEWS" target="_blank">Natalie Hegert</a></span><span style="font-family: georgia, palatino; font-size: medium;">&nbsp;</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">&nbsp;</span></p> <div style="line-height: 26px; text-align: justify;"><hr style="line-height: 26px; text-align: justify;" align="left" size="1" width="33%" /> <div style="line-height: 26px; text-align: justify;"> <p style="line-height: 26px; text-align: left;"><span style="font-family: georgia, palatino; font-size: small;"><a title="" href="#_ftnref1">[1]</a> Jon Ippolito, &ldquo;Unreliable Archivists,&rdquo; in Richard Rinehart and Jon Ippolito, <em>Re-Collection: Art, New Media, and Social Memory</em> (Cambridge, MA: MIT Press, 2014), 159-60.</span></p> </div> <div style="line-height: 26px; text-align: left;"> <p style="line-height: 26px;"><span style="font-family: georgia, palatino; font-size: small;"><a title="" href="#_ftnref2">[2]</a> Andrew W. Mellon Foundation, &ldquo;Reframing Collections for a Digital Age: A Preparatory Study for Collecting and Preserving Web-based Art Research Materials,&rdquo; April 12, 2013, 4. http://www.nyarc.org//sites/default/files/reports/reframing_final_report2013.pdf</span></p> </div> <div style="line-height: 26px; text-align: justify;"> <p style="line-height: 26px; text-align: left;"><span style="font-family: georgia, palatino; font-size: small;"><a title="" href="#_ftnref3">[3]</a> Rinehart, &ldquo;New Media and Social Memory,&rdquo; in Rinehart and Ippolito, <em>Re-Collection, </em>18.</span></p> <p style="line-height: 26px; text-align: left;"><span style="font-family: georgia, palatino; font-size: small;">&nbsp;</span></p> <p style="line-height: 26px; text-align: left;"><span style="text-align: justify; font-family: georgia, palatino; font-size: small;">(Image at top: Ryan Trecartin,&nbsp;</span><em style="text-align: justify; font-family: georgia, palatino; font-size: small;">I-Be Area</em><span style="text-align: justify; font-family: georgia, palatino; font-size: small;">, 2007, Video, 1hr 48 minutes; Courtesy the artist)</span></p> </div> </div> Thu, 22 Jan 2015 11:50:22 +0000 http://www.artslant.com/cn/Articles/list http://www.artslant.com/cn/Articles/list Jürgen Teller: To View Women Is to Think Them <p style="line-height: 24px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">The Face of Joan Didion.</span></p> <p style="line-height: 24px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">In his 1957 publication, <em>Mythologies,</em> Roland Barthes wrote a chapter entitled &ldquo;The Face of Garbo&rdquo; that traced the marked distancing of Hollywood&rsquo;s representation of the female face from the concept of <em>awe</em>, toward the effect of <em>charm</em>&mdash;childish and feline. We have not strayed far from this portrayal of women on screen since. Within Western history, and within our treatment of these images, there is something inexplicably aesthetic within the urge to evaluate the surface of a woman&rsquo;s face. Portraiture is psychological, we are told. To view women is to think them.</span></p> <p style="line-height: 24px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">Enter J&uuml;rgen Teller&rsquo;s recent campaign that launched C&eacute;line&rsquo;s Spring/Summer 2015 collection earlier this month, featuring 80-year-old American author, Joan Didion. Didion&rsquo;s status is literary, though to speak about her image in this campaign is not a criticism of her words, or event her physical being in space. To speak about Didion through its C&eacute;line image is to necessarily relegate her status to pure advertisement. Our interaction with Didion in Teller&rsquo;s piece is limited to its formal qualities; her image is inescapably commercial&mdash;we confront her as an advert, a public face, a purposefully cutting take on the typical &ldquo;poster girl.&rdquo; </span></p> <p style="line-height: 24px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">Representations of women in art, as in popular culture, are held to the aesthetics of age. Here more than ever, age commands our vision, and instructs us how to read the image. Though now into her eighties, Didion is still not severed from the discourse of girlishness&mdash;an ideal that as an author/image she at once inhabited and problematized. Why does this affect still remain? How can we define &ldquo;The Face of Didion?&rdquo;</span></p> <p style="line-height: 24px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;"><img style="display: block; margin-left: auto; margin-right: auto;" src="http://dbprng00ikc2j.cloudfront.net/userimages/84518/3mfh/20150121165337-celinecampaign11.jpg" alt="" /></span></p> <p style="line-height: 24px; text-align: center;"><span style="font-family: georgia, palatino; font-size: x-small;">J&uuml;rgen Teller: C&eacute;line Spring / Summer 2013 advertisement with Daria Werbowy</span></p> <p style="line-height: 24px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">&nbsp;</span></p> <p style="line-height: 24px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">Her shades say it all.</span></p> <p style="line-height: 24px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">In Barthes&rsquo; original two-page chapter, Audrey Hepburn was responsible for the shift toward the girl-as-kitten, a trope that is arguably &ldquo;objectified&rdquo;&nbsp;</span><span style="font-family: georgia, palatino; font-size: medium;">today&nbsp;</span><span style="font-family: georgia, palatino; font-size: medium;">(</span><span style="font-family: georgia, palatino; font-size: medium;">think: Zooey Deschanel). He described the &ldquo;face-object&rdquo; of Garbo as an <em>absolute state</em>, an archetype or idea of a woman as human form. The reverse, of course, is Hepburn, with her <em>peculiarity</em>, her idiosyncrasies. Barthes concludes: if Garbo&rsquo;s face is an Idea, Hepburn&rsquo;s is an Event. Didion&rsquo;s is neither.</span><span style="font-family: georgia, palatino; font-size: medium;">&nbsp;</span></p> <p style="line-height: 24px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">Didion&rsquo;s face is a Fa&ccedil;ade.</span></p> <p style="line-height: 24px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">In Teller&rsquo;s photograph, Didion is sculptural&mdash;in the classical sense, as a harmonious form, her composition is balanced and symmetrical&mdash;as if carved out of stone. Perhaps that is why our gaze cannot be returned: for fear that we, too, will be transformed. Didion becomes a type of Medusa figure, with all the mythological airs that come with that association. Within this placeless surrounding of </span><em style="font-family: georgia, palatino; font-size: medium;">indoors </em><span style="font-family: georgia, palatino; font-size: medium;">(we see a nondescript couch, simple furnishings within a white room), Didion stands out as purposefully non-belonging. Transplanted, transposed.</span></p> <p style="line-height: 24px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">Fa&ccedil;ades occupy a surface; they hide the space they claim to cover-up. They can redirect, mislead, give an illusion of what is behind, or eliminate the suspicion that a </span><em style="font-family: georgia, palatino; font-size: medium;">behind</em><span style="font-family: georgia, palatino; font-size: medium;"> exists at all. I imagine the faux-tunnel painted backdrops Wile E. Coyote staged against brick walls to foil the Roadrunner. Didion&rsquo;s face is a similar trickster, able to adapt to what the viewer wants her to be. Her shades encourage the myth of glamour, while the dark glass simultaneously deflects all possible interaction with her as a figure. For a campaign that represents her portrait, she is faceless.</span></p> <p style="line-height: 24px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;"><img style="display: block; margin-left: auto; margin-right: auto;" src="http://dbprng00ikc2j.cloudfront.net/userimages/84518/3mfh/20150121165356-Phoebe_Philo.jpg" alt="" /></span></p> <p style="line-height: 24px; text-align: center;"><span style="font-family: georgia, palatino; font-size: x-small;">J&uuml;rgen Teller, Phoebe Philo</span></p> <p style="line-height: 24px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">&nbsp;</span></p> <p style="line-height: 24px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">To speak about C&eacute;line&rsquo;s visual efforts more generally, Phoebe Philo&mdash;Creative Director of the brand since her appointment by LVMH in 2008&mdash;has herself participated in its images&rsquo; want for the fetishization of realness. Philo has become the unofficial mascot for the discomfort of class. In each image, luxury is problematic&mdash;or else, the clich&eacute;s of the upper class are redefined (see: <a href="http://purple.fr/magazine/s-s-2013-issue-19/172">Philo</a> in a white button-down, smoking a cigarette and holding a cup of coffee).</span></p> <p style="line-height: 24px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">Within C&eacute;line, this strange transformation occurs, where the clothing becomes Garbo&mdash;and the models each their own Hepburn. The garments, essential and structural, are made to hold women. The garments contain their bodies, never touching the edge of the constructs&rsquo; severe silhouettes, limbs floating within the austerity of a-lines and tailored menswear. The minimal yet girlish apparel is suspended as a canopy of intellect and taste, a midcentury aberration, a predictable peculiarity of time and place.</span></p> <p style="line-height: 24px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">Women drift within them. Women occupy these clothes, detached from them. Light bleeds through these models. They are lit, and light comes from them. In each overexposed photograph, as in our image of them, these women are screens. The compositions project a faded anomaly back into the history of modern fashion, or at least our representation of its aesthetic tropes, redefined ever so slightly by staged taboos. Flaws pose for the camera: the cigarette lines appearing from the aging model&rsquo;s lips; the discomforting coolness of a heavy diamond necklace in a chlorinated swimming pool; the creased heights of skin on either side of the girl&rsquo;s lingerie, placed too tightly on her upper thigh. Flaws pose for Teller.</span></p> <p style="line-height: 24px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">&nbsp;<img style="display: block; margin-left: auto; margin-right: auto;" src="http://dbprng00ikc2j.cloudfront.net/userimages/84518/3mfh/20150121165416-15714459.jpg" alt="" width="600" /></span></p> <p style="line-height: 24px; text-align: center;"><span style="font-family: georgia, palatino; font-size: x-small;">J&uuml;rgen Teller for C&eacute;line</span></p> <p style="line-height: 24px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">&nbsp;</span></p> <p style="line-height: 24px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">Teller&rsquo;s campaign is so tied to the familiar, yet the aesthetic vision of C&eacute;line is not so far outside of the twentieth century. It is post-modern, reused and largely uninventive, if the retro impression is looked at by standards of similarity. Yet it is not tired and tried. Maybe it is even fresh. We still want more; we thrive on the charmingly faltering backdrops, on the staged interloping houseplants, on the discomfort of miscellaneous surroundings, on the gap-toothed model, on her image as untouchably replicable, infinitely more unattainable and sexualized by the blatant exploitation of her predefined defect. These moments of subtle defiance separate C&eacute;line from being properly Garbo.</span></p> <p style="line-height: 24px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">Age, of course, is not outside of C&eacute;line&rsquo;s rebellion.</span></p> <p style="line-height: 24px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">The luxury of this campaign is its ability to composite the real against its own illusion. The campaign is not outside fashion; it is not outside fashion&rsquo;s concepts of beauty. The campaign is alert to its status as challenging and outr&eacute;. The campaign is self-aware.</span></p> <p style="line-height: 24px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">Using Didion as the face of the brand is no real surprise, but the implications are far more devious and underhanded than that of an average advertisement. While the image of Didion hangs in the balance, Teller is the real trickster&mdash;elusively pitting his campaign against itself, and getting labeled as avant-garde in the process. Teller&rsquo;s vision of C&eacute;line bleeds Garbo against Hepburn to imagine a third possibility: the face as a void, the face as pure surface, the face as the ultimate lie. Teller&rsquo;s Didion presents the myth&mdash;that a woman&rsquo;s face could be <em>read</em><em>&nbsp;</em>was once thought possible.</span></p> <p style="line-height: 24px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">&nbsp;</span></p> <p style="line-height: 24px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">&mdash;<a href="http://www.artslant.com/global/artists/show/183982-stephanie-cristello?tab=REVIEWS" target="_blank">Stephanie Cristello</a></span></p> <p style="line-height: 24px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">&nbsp;</span></p> <p style="line-height: 24px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: small;">(Image at top: Joan Didion, by&nbsp;J&uuml;rgen Teller for C&eacute;line)</span></p> Fri, 23 Jan 2015 10:42:58 +0000 http://www.artslant.com/cn/Articles/list http://www.artslant.com/cn/Articles/list What to Buy at the London Art Fair 2015 <p style="text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium; line-height: 26px;">The London Art Fair, sitting comfortably in the middle ground between Frieze and the Affordable Art Fair, is geared towards the soild mid-range collector, a fact reenforced by its <a href="http://www.artslant.com/ew/articles/show/41807" target="_blank">middle class location</a> in Angel Islington. Whether you're new to the game, an emerging dealer, or a fastidious collector of the kind of Modern and Contemporary British Art the fair is dedicated to, the London Art Fair caters to your taste. For this 27th iteration of the fair, we've selected our recommended buys for a range of budgets from some of our favorite galleries among the 128 exhibitors. Penniless? We're with you: but art's all about aspiration, innit?</span></p> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;"><strong><span style="font-family: georgia, palatino; font-size: medium; line-height: 26px;">Budget: &pound;1,000</span></strong></p> <p style="text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium; line-height: 26px;"><img src="http://dbprng00ikc2j.cloudfront.net/userimages/101642/4cut/20150120120657-Nichola_Theakston__Standing_Silverback__courtesy_of_Lena_Boyle_Fine_Art.jpg" alt="" /><span style="font-family: Arial, Helvetica, Sans, 'Trebuchet MS', Tahoma, Verdana; font-size: 12px;">&nbsp;</span></span></p> <p class="p1" style="text-align: center;"><span style="font-family: georgia, palatino; font-size: x-small;">Nichola Theakston, <em>Standing Silverback</em>, 2014. Stoneware ceramic, 34 x 31 cm, limited edition of 24.</span><span style="font-family: georgia, palatino; font-size: x-small;">&nbsp;Courtesy of </span><a style="font-family: georgia, palatino; font-size: x-small;" href="http://www.lenaboyle.com/index.php" target="_blank">Lena Boyle Fine Art</a></p> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium; line-height: 26px;">Of course there are many varied and complex factors that go into the pricing and purchasing of artworks, and it's probably not advisable to make an impulse investment BUT... a desktop-sized edition of a gorilla&nbsp;</span><span style="font-family: georgia, palatino; font-size: medium; line-height: 26px;">sculpture</span><span style="font-family: georgia, palatino; font-size: medium; line-height: 26px;">&nbsp;</span><span style="font-family: georgia, palatino; font-size: medium; line-height: 26px;">for only &pound;750? Treat yourself, it's January.</span></p> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;"><strong><span style="font-family: georgia, palatino; font-size: medium; line-height: 26px;">Budget: &pound;3,000</span></strong></p> <p style="text-align: center;"><span style="font-family: georgia, palatino; font-size: medium; line-height: 26px;"><img src="http://dbprng00ikc2j.cloudfront.net/userimages/32120/1dkh/20150120174152-20150120110710-dominic-beattie-untitled-100.jpg" alt="" /><br /><span style="font-size: x-small; text-align: center;">&nbsp;</span><span style="font-size: x-small; text-align: center;">Dominic Beattie, <em>Untitled</em>, 2014,</span><span style="font-size: x-small; text-align: center;">&nbsp;36 x 27 cm. Courtesy of <a href="http://www.foldgallery.com/" target="_blank">Fold Gallery</a></span></span></p> <p class="p1" style="text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium; line-height: 26px; text-align: justify;">&pound;2,500 will get you this colorful graphic work (enamel, ink, spray paint and varnish on board) by Dominic Beattie at Fold Gallery's stand.&nbsp;</span></p> <p class="p1"><span style="font-family: georgia, palatino; font-size: medium; line-height: 26px; text-align: justify;">&nbsp;</span></p> <p class="p1" style="text-align: center;"><img src="http://dbprng00ikc2j.cloudfront.net/userimages/101642/4cut/20150120120308-Rhomas_Gold_001__2012_.jpg" alt="" /></p> <p class="p1" style="text-align: center;"><span style="font-family: georgia, palatino; font-size: x-small;">Pablo Griss,&nbsp;<em>Rhombus (Gold 001),&nbsp;</em>2012,&nbsp;24-Karat gold-leaf and acrylic on linen,&nbsp;60 x 48 cm. Courtesy of <a href="http://www.beerscontemporary.com/" target="_blank">Beers Contemporary</a></span></p> <p class="p1" style="text-align: center;"><span style="font-family: georgia, palatino; font-size: x-small;">&nbsp;</span></p> <p class="p1" style="text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium; line-height: 26px;">More pleasing symmetry, but who doesn't love it? This Pablo Griss number says decadence, but in the right measure. Find it at Beers Contemporary, price: &pound;2,800.</span></p> <p style="text-align: justify;">&nbsp;</p> <p><span style="font-family: georgia, palatino; font-size: medium; line-height: 26px;"><img style="display: block; margin-left: auto; margin-right: auto;" src="http://dbprng00ikc2j.cloudfront.net/userimages/32120/1dkh/20150120174327-20150120111445-tim-ellis-primogenitor.jpg" alt="" /></span></p> <p class="p1" style="text-align: center;"><span style="font-family: georgia, palatino; font-size: x-small;">Tim Ellis, <em>Primogenitor</em>, 2012. Courtesy of Fold Gallery</span></p> <p class="p1" style="text-align: center;"><span style="font-family: georgia, palatino; font-size: x-small;">&nbsp;</span></p> <p style="text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium; line-height: 26px;">Also offered by Fold Gallery for &pound;2,500 this fine piece of burnt wood hits on the ongoing lust for art-meets-craft, while being classic enough to endure beyond the craze.</span></p> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;"><strong><span style="font-family: georgia, palatino; font-size: medium; line-height: 26px;">Budget: &pound;5,000</span></strong></p> <p style="text-align: justify;"><strong><span style="font-family: georgia, palatino; font-size: medium; line-height: 26px;"><img src="http://dbprng00ikc2j.cloudfront.net/userimages/101642/4cut/20150120234606-unnamed.jpg" alt="" /></span></strong></p> <p style="text-align: center;"><span style="text-align: center; font-size: x-small; font-family: georgia, palatino; line-height: 26px;">Simon Shepherd</span><strong style="text-align: center; font-size: x-small; font-family: georgia, palatino; line-height: 26px;">,&nbsp;</strong><em style="text-align: center; font-size: x-small; font-family: georgia, palatino; line-height: 26px;">Spalding</em><span style="text-align: center; font-size: x-small; font-family: georgia, palatino; line-height: 26px;">, 2013, Ceramic,&nbsp;40 x 30 x 25 cm. Courtesy of <a href="http://www.pertweeandersongold.com/" target="_blank">Pertwee, Anderson &amp; Gold</a></span></p> <p style="text-align: left;"><span style="font-family: georgia, palatino; font-size: medium; line-height: 26px;">Pertwee, Anderson &amp; Gold offer this portable Simon Shepherd ceramic delight for &pound; 3,500 (plus VAT).&nbsp;</span></p> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;"><strong><span style="font-family: georgia, palatino; font-size: medium; line-height: 26px;">Budget: &pound;20,000</span></strong></p> <p style="text-align: center;"><span style="font-family: georgia, palatino; font-size: medium; line-height: 26px;"><img src="http://dbprng00ikc2j.cloudfront.net/userimages/101642/4cut/20150120113819-5590_1000.jpg" alt="" /></span></p> <p style="text-align: center;"><span style="font-size: x-small;"><span style="font-family: georgia, palatino; line-height: 26px;"><strong>Swoon,&nbsp;</strong><em>Cairo</em>, 2012,&nbsp;Hand printed blockprint on mylar with coffee stain and hand painting,&nbsp;</span><span style="font-family: georgia, palatino; line-height: 26px;">104.5 x 63 in.&nbsp;Courtesy of&nbsp;Pertwee, Anderson &amp; Gold</span></span></p> <p style="text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium; line-height: 26px;"><br />Pertwee, Anderson &amp; Gold have Swoon signed editions like this one priced at &pound;11,000. The premier female street painter&mdash;recently featured in the <em>Guardian</em> as one of the women who is redefining the movement, and who exhibited solo at the Brooklyn Museum last year&mdash;is a safe investment.</span></p> <p style="text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium; line-height: 26px;">&nbsp;</span></p> <p><span style="font-family: georgia, palatino; font-size: medium; line-height: 26px;"><img style="display: block; margin-left: auto; margin-right: auto;" src="http://dbprng00ikc2j.cloudfront.net/userimages/101642/4cut/20150120115421-simon-callery-red-slip.jpg" alt="" /></span></p> <p class="p1" style="text-align: center;"><span style="font-size: x-small; font-family: georgia, palatino;">Simon Callery, <em>Red Slip,&nbsp;</em>2014. Courtesy of Fold Gallery</span></p> <p style="text-align: justify;">&nbsp;</p> <p class="p2"><span style="font-family: georgia, palatino; font-size: medium; line-height: 26px;">For &pound;10,500 you could turn your house into a surreal landscape of possibilities with a wall sculpture by Simon Callery. No, they do not look like painted toilet seats. That did not even cross my mind.</span></p> <p class="p2"><span style="font-family: georgia, palatino; font-size: medium; line-height: 26px;">&nbsp;</span></p> <p class="p2" style="text-align: center;"><span style="font-family: georgia, palatino; font-size: medium; line-height: 26px;"><img style="display: block; margin-left: auto; margin-right: auto;" src="http://dbprng00ikc2j.cloudfront.net/userimages/101642/4cut/20150120233701-Nadav_Kander__Graveyard_near_Kurchatov__Kazakhstan_2011__C__Nadav_Kander__Courtesy_of_Flowers_Gallery_London_and_New_York.jpg" alt="" /><span style="font-size: x-small;">&nbsp;</span></span><span style="font-family: georgia, palatino; font-size: x-small; text-align: center;">Nadav Kander,&nbsp;</span><em style="font-family: georgia, palatino; font-size: x-small; text-align: center;">C-4 Graveyard at Kurchatov,</em><span style="font-family: georgia, palatino; font-size: x-small; text-align: center;"> Chromogenic colour print, 2011, Edition of 5, 123 x 149 cm. Courtesy of <a href="http://www.flowersgallery.com/" target="_blank">Flowers Gallery</a></span></p> <p style="text-align: justify;"><span style="color: #000000; font-family: georgia, palatino; font-size: x-small;">&nbsp;</span></p> <p style="text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium; line-height: 26px; color: #000000;">You could also purchase a print of a graveyard in Khazakhstan for &pound;6,500 (plus framing). London-based photographer Nadav Kander is on display at Flowers Gallery. This series&mdash;documenting the ruins of a former Soviet nuclear test site&mdash;is a heart-pulling vision of apocalypse now.</span><span style="font-family: georgia, palatino; font-size: medium; line-height: 26px; text-align: left;">&nbsp;</span></p> <p style="text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium; line-height: 26px; text-align: left;">&nbsp;</span></p> <p style="text-align: justify;"><strong><span style="font-family: georgia, palatino; font-size: medium; line-height: 26px;">Budget: &pound;300,000</span></strong></p> <p><span style="font-family: georgia, palatino; font-size: medium; line-height: 26px;"><img style="display: block; margin-left: auto; margin-right: auto;" src="http://dbprng00ikc2j.cloudfront.net/userimages/101642/4cut/20150120120023-Peter_Lanyon__Deep_Blue_Coast__1961__courtesy_of_Rowntree_Clark.jpg" alt="" /></span></p> <p class="p1" style="text-align: center;"><span style="font-family: georgia, palatino; font-size: x-small;">Peter Lanyon,<em> Deep Blue Coast,&nbsp;</em>1961. Courtesy of <a href="http://www.rowntreeclark.com/" target="_blank">Rowntree Clark</a></span></p> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium; line-height: 26px;">You're more than a bit lucky if you can afford this one from the lovely and legendary late Lanyon, a post-war innovator of Modern British painting. On offer at Rowntree Clark at&nbsp;</span><span style="text-align: left; font-family: georgia, palatino; font-size: medium;">&pound;275,000.&nbsp;</span></p> <p style="text-align: justify;"><span style="text-align: left; font-family: georgia, palatino; font-size: medium;">&nbsp;</span></p> <p style="text-align: justify;"><strong><span style="font-family: georgia, palatino; font-size: medium; line-height: 26px;">Budget: &pound;500,000+</span></strong></p> <p style="text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium; line-height: 26px;">First off, ask yourself some questions. There are people starving and dying around the world, and you're seriously considering dropping this kind of dollar on something that will probably hang on the wall of a house you barely inhabit. Aren't there more urgent philanthropic causes?</span></p> <p style="text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium; line-height: 26px;">If you're still keen, ask yourself another serious question: you're probably quite wealthy&mdash;likely you're in that 1% that owns half of the world's money&mdash;but remember that this doesn't necessarily mean you have taste. Ask an expert for advice. Alternatively, take ours, and go for this, with a price tag of &pound;500,000:</span></p> <p style="text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium; line-height: 26px;">&nbsp;</span></p> <p><img style="display: block; margin-left: auto; margin-right: auto;" src="http://dbprng00ikc2j.cloudfront.net/userimages/101642/4cut/20150120114308-Picasso-Portrait_of_Dora_Maar__1942__courtesy_of_Gilden_s_Arts_Gallery_-....jpg" alt="" /></p> <p style="text-align: center;"><span style="font-family: georgia, palatino; font-size: x-small; line-height: 26px;">Picasso, Portrait of Dora Maar, 1942,&nbsp;courtesy of Gilden's Arts Gallery</span></p> <p style="text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium; line-height: 26px;">&nbsp;</span></p> <p style="text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium; line-height: 26px;">&mdash;<a href="http://www.artslant.com/global/artists/show/162742-char-jansen?tab=REVIEWS" target="_blank">Char Jansen</a></span></p> <p style="text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium; line-height: 26px;">&nbsp;</span></p> <p style="text-align: justify;"><span style="font-family: georgia, palatino; font-size: x-small; line-height: 26px;">(Image on top: Simon Shepherd<strong>,&nbsp;</strong><em>Spalding</em>, 2013,&nbsp;Ceramic,&nbsp;40 x 30 x 25 cm)</span></p> Wed, 21 Jan 2015 11:22:48 +0000 http://www.artslant.com/cn/Articles/list http://www.artslant.com/cn/Articles/list Smack Mellon's <em>RESPOND</em> and the New Imaginary <p style="line-height: 26px; text-align: justify;" dir="ltr"><span style="font-family: georgia, palatino; font-size: medium;">There is no better point in time to enact change than during a cultural rupture. Popular culture&mdash;the expressions that bind a collective group&mdash;is a smooth stream of images and ideologies that flows at an overwhelming and indomitable rate. This is part of the mandate of contemporary culture: to express with as many images and words as experienced time will allow.</span></p> <p style="line-height: 26px; text-align: justify;" dir="ltr"><span style="font-family: georgia, palatino; font-size: medium;"><a href="http://smackmellon.org/" target="_blank">Smack Mellon</a>, a New York venue in DUMBO that supports emerging and underrepresented artists put its exhibition schedule on hold this month to present <em>RESPOND</em>, an exhibition in reaction to the nonindictment of Daniel Pantaleo, the Staten Island police officer who murdered Eric Garner. Opening night saw lines around the block and a packed gallery for the salon-like exhibition. Artists from around the world responded to the open call the gallery put out on the heels of Pantaleo's nonindictment and the exhibition is at once sobering and jubilant. It exhibits, with force, an imaginary that confronts head-on a unidirectional, racist regime of popular images.</span></p> <p style="line-height: 26px;" dir="ltr"><span style="font-family: georgia, palatino; font-size: medium;"><img style="display: block; margin-left: auto; margin-right: auto;" src="http://dbprng00ikc2j.cloudfront.net/userimages/84518/3mfh/20150119220844-IMG_2168.JPG" alt="" width="500" /></span></p> <p style="line-height: 26px; text-align: center;" dir="ltr"><span style="font-family: georgia, palatino; font-size: x-small;">Installation view of the main gallery</span></p> <p style="line-height: 26px; text-align: center;" dir="ltr"><span style="font-family: georgia, palatino; font-size: x-small;">&nbsp;</span></p> <p style="line-height: 26px; text-align: justify;" dir="ltr"><span style="font-family: georgia, palatino; font-size: medium;">Pop cultural representations are often just memetic iterations with slight alterations. As such, most culture serves a single purpose: to reinforce the social relationships and ontologies existing in that moment. Culture is often still unidirectional&mdash;that is, it moves vertically from the top down&mdash;despite the burgeoning flatness&mdash;the horizontality&mdash;of production online. The reality of&nbsp;<a href="http://inthesetimes.com/article/17121/how_blacktwitter_made_michael_browns_death_front_page_news" target="_blank">Black Twitter</a>&nbsp;goes to show just how necessary a popular culture grounded in the experience of blackness is, along with its ability to be given flight by horizontal networks of communication. Because of this flatness of production, cultural ruptures will be more frequent and more widespread. The unidirectionality of popular culture will be challenged more and more as it becomes more multidirectional and the hegemonic voices of the few become drowned out by the establishment of the many.&nbsp;<em>RESPOND</em> begins to do just that.</span></p> <p style="line-height: 26px;"><span style="font-family: georgia, palatino; font-size: medium;"><img style="display: block; margin-left: auto; margin-right: auto;" src="http://dbprng00ikc2j.cloudfront.net/userimages/84518/3mfh/20150119201342-Sign-of-the-timesVGA.jpg" alt="" width="500" /></span></p> <p style="line-height: 26px; text-align: center;" dir="ltr"><span style="font-family: georgia, palatino; font-size: x-small;">Dread Scott, <em>Sign of the Times</em>, 2001</span></p> <p style="line-height: 26px; text-align: center;" dir="ltr"><span style="font-family: georgia, palatino; font-size: x-small;">&nbsp;</span></p> <p style="line-height: 26px; text-align: justify;" dir="ltr"><span style="font-family: georgia, palatino; font-size: medium;">Some of the artworks like Dread Scott&rsquo;s <em>Sign of the Times</em>, 2001, and Mel Chin's <em>Night Rap</em>, 1993, were not made in response to the recent cultural rupture but address the issues of police brutality and racism more generally. Though their inclusion could be questioned in an exhibition entitled "<em>RESPOND</em>," they do serve to remind us that counter-imaginaries have existed in the past and persist today. </span></p> <p style="line-height: 26px; text-align: justify;" dir="ltr"><span style="font-family: georgia, palatino; font-size: medium;">Most works in the exhibition directly addressed the deaths of Eric Garner, Michael Brown, and Trayvon Martin. In the annex of Smack Mellon, a more intimate installation housed some of the most enduring artworks. One of the most powerful was a painted transcription of Eric Garner&rsquo;s last words by Atikur Abdul.</span></p> <p style="line-height: 26px;"><span style="font-family: georgia, palatino; font-size: medium;"><img style="display: block; margin-left: auto; margin-right: auto;" src="http://dbprng00ikc2j.cloudfront.net/userimages/84518/3mfh/20150119203137-IMG_2205.JPG" alt="" width="400" /></span></p> <p style="line-height: 26px; text-align: center;"><span style="font-family: georgia, palatino; font-size: x-small;">Atkur Abdul, <em>Garner's Last Words</em>, 2014</span></p> <p style="line-height: 26px; text-align: center;"><span style="font-family: georgia, palatino; font-size: x-small;">&nbsp;</span></p> <p style="line-height: 26px; text-align: justify;" dir="ltr"><span style="font-family: georgia, palatino; font-size: medium;">To the right, in a small shadow box, an intaglio printed feather bore a face, eyes closed, lips parted in a moment of exhale&mdash;ecstatic and moribund. Ann Johnson&rsquo;s series of feather prints recall a lightness of being that directly resists the heaviness of the oppressed experience. Originally paired with a video of people from her community telling stories from their lives, this single work from her series&nbsp;<em>Suga Blue</em>&nbsp;finds new prescience within this context.&nbsp;</span></p> <p style="line-height: 26px;" dir="ltr"><span style="font-family: georgia, palatino; font-size: medium;"><img style="display: block; margin-left: auto; margin-right: auto;" src="http://dbprng00ikc2j.cloudfront.net/userimages/84518/3mfh/20150119203502-IMG_2206.JPG" alt="" width="400" /></span></p> <p style="line-height: 26px; text-align: center;" dir="ltr"><span style="font-family: georgia, palatino; font-size: medium;"><span style="font-size: x-small;">From Ann Johnson's series, <em><a href="http://www.solesisterart.com/large-multi-view/SUGA%20BLUES/2387940-1-199540/SUGA%20BLUES.html#.VL2RmIrF8Sk" target="_blank">Suga Blues</a></em></span><br /></span></p> <p style="line-height: 26px; text-align: center;" dir="ltr"><span style="font-family: georgia, palatino; font-size: medium;"><span style="font-size: x-small;"><em>&nbsp;</em></span></span></p> <p style="line-height: 26px; text-align: justify;" dir="ltr"><span style="font-size: medium; font-family: georgia, palatino;">Continuing in a clockwise fashion around the annex, I came upon Megan Tatem's pretty fuckin' awesome work, <em>MFNLU</em>, which paired Michael Brown's defiant high school graduation photo with a quote from Drake's hit song "<a href="https://www.youtube.com/watch?v=CccnAvfLPvE">Worst Behavio</a><a href="https://www.youtube.com/watch?v=CccnAvfLPvE">r</a>"&nbsp;from his coming of age album <em>Nothing Was the Same</em>. The layering of Michael Brown's graduation picture and Drake's lyrics perfectly insinuates the emotional posturing needed by the oppressed. The Making-It experience that <em>Worst Behavior</em>&nbsp;represents becomes at once allegorical and satirical. Making-It provides the dream of acceptance while the extravagance associated with Making-It exhibits the seeming impossibility of escaping oppressive circumstances.</span></p> <p style="line-height: 26px;" dir="ltr"><span style="font-family: georgia, palatino; font-size: medium;"><img style="display: block; margin-left: auto; margin-right: auto;" src="http://dbprng00ikc2j.cloudfront.net/userimages/84518/3mfh/20150120004936-MFNLU.jpg" alt="" width="400" /></span></p> <p style="line-height: 26px; text-align: center;" dir="ltr"><span style="font-family: georgia, palatino; font-size: x-small;">Megan Tatem,&nbsp;</span><span style="font-family: georgia, palatino; font-size: x-small;"><em>MFNLU</em>,</span><span style="font-family: georgia, palatino; font-size: x-small;">&nbsp;</span><span style="font-family: georgia, palatino; font-size: x-small;">from the series </span><em><a style="font-family: georgia, palatino; font-size: x-small;" href="http://www.megantatem.com/identity-crisis/smh8fefw7evwk9xh2o8j9kxf8l5h6l">Identity Crisis</a></em><span style="font-family: georgia, palatino; font-size: x-small;">, 2014; Courtesy of the artist</span></p> <p style="line-height: 26px; text-align: center;" dir="ltr"><span style="font-family: georgia, palatino; font-size: x-small;">&nbsp;</span></p> <p style="line-height: 26px; text-align: justify;" dir="ltr"><span style="font-family: georgia, palatino; font-size: medium;">A photographic work by Elliott Brown (image at top) is hung framed by dirt-dyed and worn white undershirts. A single black cord tugs from the top of the picture at the subject's neck and cock. The bound victim looks up in distress. The figure is fragile&mdash;again, moribund&mdash;wrought in opposition to the portrayal of the black male in popular culture.&nbsp;</span></p> <p style="line-height: 26px; text-align: justify;" dir="ltr"><span style="font-family: georgia, palatino; font-size: medium;"><em>RESPOND</em> is more than a response. It is at its best a sampling of a new cultural flow, a new imaginary that is able to redirect a hateful regime of images that serves to oppress and invalidate the black body.</span></p> <p style="line-height: 26px; text-align: justify;" dir="ltr"><span style="font-family: georgia, palatino; font-size: medium;">&nbsp;</span></p> <p style="line-height: 26px; text-align: justify;" dir="ltr"><span style="font-family: georgia, palatino; font-size: medium;">&mdash;<a href="http://www.artslant.com/website/joel-kuennen/REVIEWS?site=ny" target="_blank">Joel Kuennen</a></span></p> <p style="line-height: 26px; text-align: justify;" dir="ltr"><span style="font-family: georgia, palatino; font-size: medium;">&nbsp;</span></p> Tue, 27 Jan 2015 16:52:28 +0000 http://www.artslant.com/cn/Articles/list http://www.artslant.com/cn/Articles/list Manufacturing Hopefulness: London's Best Emerging Galleries and Artist Projects <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">I went to a lecture the other day at the Royal College of Art, which although about art as resistance, mostly addressed its opposite, a phrase I have heard more and more lately in relation to the art world and art education: "the manufacture of hopelessness." The phrase sounds like a joke, but it&rsquo;s not. Expressed by many students at a school that now costs thousands of pounds a year, it&rsquo;s the feeling that the capital A, capital W, Art World is an impenetrable whole, top fed by astronomic wealth, streamlining its output (and therefore input) to polite art whose sole purpose is to accumulate wealth for those who buy it. However, I can&rsquo;t help wondering if such conversations only harden the feeling, perpetuating it rather than addressing it. In short, talking about manufacturing hopelessness is to manufacture that hopelessness.</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">Lately I have been thinking that what actually helps is to talk about what makes an art world: who makes it, how it&rsquo;s made, the variations it encompasses. I therefore want to talk about galleries, and specifically new galleries and artist-run spaces&mdash;those started largely since the recession. It&rsquo;s tempting to look at well established galleries and think of them as permanent entities, but they too were made&mdash;some with vast private investment, yes, but most years ago with a cheap project space, some resolve to be involved in art, and the kind of enthusiasm and foolhardiness that used to be a product of art education. Looking for this lately, I am pleased to say that it&rsquo;s still around, and sits alongside projects more heavily funded. There is, and always will be, room for both. Galleries, project spaces, and artist led organizations spring up all the time, both for profit and not. And I want to take a minute to focus on a few of them, and encourage everyone to visit them this year to see some art.</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">&nbsp;</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;"><strong><a href="http://www.thesundaypainter.co.uk/%20">The Sunday Painter</a></strong>,<strong>&nbsp;</strong></span><span style="font-family: georgia, palatino; font-size: medium;">1st Floor, 12-16 Blenheim Grove, London, SE15 4QL</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;"><img src="http://dbprng00ikc2j.cloudfront.net/userimages/101642/4cut/20150119160805-1._Harvest_installation_view__The_Sunday_Painter.jpg" alt="" /></span></p> <p style="line-height: 26px; text-align: center;"><span style="font-family: georgia, palatino; font-size: x-small;">Samara Scott,&nbsp;<em>Harvest</em>,&nbsp;Installation view, 2014. Courtesy of The&nbsp;Sunday&nbsp;Painter 2014</span></p> <p style="line-height: 26px; text-align: center;"><span style="font-family: georgia, palatino; font-size: x-small;">&nbsp;</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">The Sunday Painter was started by three artists and friends&mdash;Will Jarvis, Grace Schofield and Harry Beer&mdash;at the end of their studies at Camberwell. The model of providing studio space along with the gallery allowed them to start with a not-for-profit model, creating space to make work, to show the work of interesting, emerging artists, and to host artist talks and crit groups. The gallery has moved in Peckham and is now right behind Peckham Rye Station.</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">The Sunday Painter made a name for itself showing a lot of emerging artists who, in the time since it started in 2008, have become better known. Samara Scott&rsquo;s show, which just ended, presented floor works, lit with sparkly colors, looking like dioramas of alien landscapes. Stuck on plastic sheets or baking trays, with wax or varnish inlaid into foam, the sticky or wet looking landscapes were peppered with beads, nails, spaghetti, and toilet roll. Upcoming in 2015 are solo exhibitions by Rob Chavasse, Hannah Lees and Piotr Lakomy.&nbsp;</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">&nbsp;</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;"><strong><a href="http://unionpacific.co.uk/artists-menu/">Union Pacific</a></strong>,<strong>&nbsp;</strong></span><span style="font-family: georgia, palatino; font-size: medium;">17 Goulston Street, London, E1 7TP</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;"><img src="http://dbprng00ikc2j.cloudfront.net/userimages/101642/4cut/20150119162105-Installation_view_Union_Unipn_Pacific.jpg" alt="" /></span></p> <p style="line-height: 26px; text-align: center;"><span style="font-family: georgia, palatino; font-size: x-small;">Installation view of&nbsp;<em>Union</em>&nbsp;at Union Pacific</span></p> <p style="line-height: 26px; text-align: center;"><span style="font-family: georgia, palatino; font-size: x-small;">&nbsp;</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">Union Pacific is in a slightly unusual east London location, in between Whitechapel and Shoreditch, given that it was started by two people better known for their Peckham projects: Grace Schofield (formerly of The Sunday Painter) and Nigel Dunkley, who founded it in late 2014. They opened with a group show called <em>Union</em>, featuring the work of many of the artists they had become friends with through their previous Peckham projects.</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">The upcoming exhibition, opening on January 22, is a solo from Caroline Mesquita called&nbsp;<em>Camping</em>. The gallery currently represent three artists: Jan Kiefer, Max Ruf, and Julie Born Schwartz. A group show from&nbsp;Kernal Operations&nbsp;opens in March followed by a solo show by David Douard in May.</span><strong style="font-family: georgia, palatino; font-size: medium;">&nbsp;</strong><span style="font-family: georgia, palatino; font-size: medium;">Kiefer will have a solo show there in June.</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;"><strong>&nbsp;</strong></span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;"><strong><a href="http://www.edelassanti.com/">Edel Assanti</a></strong>,<strong>&nbsp;</strong></span><span style="font-family: georgia, palatino; font-size: medium;">74a Newman Street, London, W1T 3DB</span></p> <p style="line-height: 26px; text-align: center;"><span style="font-family: georgia, palatino; font-size: medium;"><img src="http://dbprng00ikc2j.cloudfront.net/userimages/101642/4cut/20150119162218-new_order_rachel_ruysch_II_lres__1_.jpg" alt="" /></span></p> <p style="line-height: 26px; text-align: center;"><span style="font-family: georgia, palatino; font-size: x-small;">Gordon Cheung,&nbsp;<em>Rachel Ruysch II (New Order),</em> 2014,&nbsp;Inkjet Print on hanamaulu paper. &copy;&nbsp;Gordon Cheung,&nbsp;</span><span style="font-family: georgia, palatino; font-size: x-small;">C</span><span style="font-family: georgia, palatino; font-size: x-small;">ourtesy Edel Assanti, London.</span></p> <p style="line-height: 26px; text-align: center;"><span style="font-family: georgia, palatino; font-size: x-small;">&nbsp;</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">Edel Assanti, which moved into its new Fitzrovia space this month, was started by Charlie Fellowes and Jeremy Epstein in 2010. As a totally self-funded commercial venture, they made it work by taking on rent-free space with Westminster council, paying business rates and running costs, and for the first two and a half years both kept their jobs in commercial galleries. They currently represent eight artists formally, but have worked with many more on a less formal basis, and all have become friends. Gordon Cheung, for instance, had a studio in their Victoria space after his was torn down with little notice. Cheung will have his second solo show with the gallery in September 2015. </span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">In their Victoria space, Fellowes told me, they had a full first cycle of exhibitions by the artists they represent, and now in their new location they'll host the second solo shows of many of those artists&mdash;Jodie Carey in March and Marcin Dudek in May. Over the past four years they have gradually built up the gallery&rsquo;s output, and this year, on top of the busy gallery schedule, they will also take artists to four fairs including Art Rotterdam and the Armory Show in New York.</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">The new, much larger space enables them the flexibility to present two shows at once. Through the end of February, they have Jesse Hlebo&rsquo;s solo<em>, In Pieces&mdash;</em>an examination of society in crisis, with burnt shutter-like boards, ripped, framed but ambiguous fragments, and a video of catastrophic scenes, the combination of which borders on the apocalyptic&mdash;and Christopher Hanlon&rsquo;s semi-abstracted paintings, detailed studies of displaced and manipulated objects in dreamy and luxurious oil on linen.</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">&nbsp;</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;"><strong><a href="http://www.rodbarton.com/%20">Rod</a><a href="http://www.rodbarton.com/%20"> Barton</a>,&nbsp;</strong></span><span style="font-family: georgia, palatino; font-size: medium;">41-45 Consort Road, London, SE15 3SS</span><strong style="font-family: georgia, palatino; font-size: medium;">&nbsp;</strong></p> <p style="line-height: 26px; text-align: center;"><strong style="font-family: georgia, palatino; font-size: medium;"><img src="http://dbprng00ikc2j.cloudfront.net/userimages/101642/4cut/20150121103447-01__small_version_.jpeg" alt="" /></strong></p> <p style="line-height: 26px; text-align: center;"><span style="font-family: georgia, palatino; font-size: x-small;">Camilla Stenium, from forthcoming exhibit&nbsp;<em>Dubious Desire for Cleanliness, Courtesy Rod Barton</em></span></p> <p style="line-height: 26px; text-align: center;"><span style="font-family: georgia, palatino; font-size: x-small;"><em>&nbsp;</em></span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">Rod Barton started out in a small space in Paget Street, EC1, but has since moved to its current location in Peckham. The gallery started small, only opening a couple of days a week and in such a way that kept itself ticking over without having to make sales. Over time the output has grown and they now represent seven artists.&nbsp;</span><span style="font-family: georgia, palatino; font-size: medium;">Opening on January 23</span><span style="font-family: georgia, palatino; font-size: medium;">&nbsp;is a solo show by Camilla Steinum, called </span><em style="font-family: georgia, palatino; font-size: medium;">Dubious Desire for Cleanliness</em><span style="font-family: georgia, palatino; font-size: medium;">, which will be followed by an exhibition of Lauren Elder&rsquo;s work</span><span style="font-family: georgia, palatino; font-size: medium;">.</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;"><strong>&nbsp;</strong></span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;"><strong><a href="http://www.southkiosk.com/exhibitions/">South Kiosk</a></strong>,<strong>&nbsp;</strong></span><span style="font-family: georgia, palatino; font-size: medium;">Unit B, FlatIron Yard, 14 Ayres Street, London, SE1 1ES</span></p> <p style="line-height: 26px; text-align: center;"><span style="font-family: georgia, palatino; font-size: medium;"><img src="http://dbprng00ikc2j.cloudfront.net/userimages/101642/4cut/20150119162348-1_Experience_the_richness.jpg" alt="" /></span></p> <p style="line-height: 26px; text-align: center;"><span style="font-family: georgia, palatino; font-size: x-small;">Alicja Dobrucka,&nbsp;<em>Experience the richness of life at every step</em>, 2013, Digital C-type print on Fuji Crystal Archive,&nbsp;109.2 &times; 134.6 cm</span></p> <p style="line-height: 26px; text-align: center;"><span style="font-family: georgia, palatino; font-size: x-small;">&nbsp;</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">South Kiosk was founded in early 2013 as an editorially driven website and opened as a gallery space in early 2014. The gallery focuses on artists who recuperate dead or dying technological formats and those who build new technological platforms for the production and display of art. But they also work with artists whose work comments on the history or future of technology in a more abstract manner.</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">In their first year of programming South Kiosk had a number of group shows, a summer screening program, and a solo exhibition by James Bulley. They began 2015 with exhibition of the large photographic works by Alicja Dobrucka and Emma Charles, both of which deal with landscapes changing from economic and technological pressures&mdash;Mumbai and the Allegheny Mountain region respectively. This will be followed by booths at London Art Fair and at Art Rotterdam as well as a solo exhibition of BJP International Photo Award Winner Dominic Hawgood (featured in our Catlin Guide tips from London Art Fair <a href="http://www.artslant.com/ew/articles/show/41804" target="_blank">here</a>).&nbsp;</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">&nbsp;</span><span style="font-family: georgia, palatino; font-size: medium;">&nbsp;</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;"><a href="http://www.piperkeys.com/" target="_blank"><strong>Piper Keys</strong></a>,&nbsp;</span><span style="font-family: georgia, palatino; font-size: medium;">2a, 10 Greatorex Street, London E1 5NF</span></p> <p style="line-height: 26px; text-align: center;"><span style="font-family: georgia, palatino; font-size: medium;"><img src="http://dbprng00ikc2j.cloudfront.net/userimages/101642/4cut/20150119163738-unnamed.jpg" alt="" /></span></p> <p style="line-height: 26px; text-align: center;"><span style="font-family: georgia, palatino; font-size: x-small;">The entrance to the gallery, through a dark corridor in the Greatorex estate</span></p> <p style="line-height: 26px; text-align: center;"><span style="font-family: georgia, palatino; font-size: x-small;">&nbsp;</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">Started by artists Lawrence Leaman and Jacques Rogers in a hard to find warehouse building in Whitechapel, Piper Keys has had consistently good shows since its inception in April 2013. Allison Katz&rsquo;s multiple portraits of her friend Adele on leather scraps made the tall space feel intimate. Their current exhibition by Stuart Middleton, <em>Sad Sketches</em>, on till January 25, presents four sets of torso- and head-less, pissed-looking figures as bar tables, dancing or brawling in queasy pink light. The walls are transformed with a wash of Pepto-Bismol pink and coca-cola, the after effect of which is reminiscent of the morning after&rsquo;s headache and nausea. Next month's exhibition features&nbsp;the German artists Andrea B&uuml;ttner and Brit Meyer. The space is not-for-profit and is funded by the Arts Council.</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">&nbsp;</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;"><a href="http://www.arcadiamissa.com/" target="_blank"><strong>Arcadia Missa</strong></a>,&nbsp;Unit 6&nbsp;Bellenden Road Business Centre,&nbsp;SE15 4RF</span></p> <p style="line-height: 26px; text-align: center;"><span style="font-family: georgia, palatino; font-size: medium;"><img src="http://dbprng00ikc2j.cloudfront.net/userimages/101642/4cut/20150119162529-MC_Facing_the_same_direction_2__1_.jpg" alt="" /></span></p> <p style="line-height: 26px; text-align: center;"><span style="font-family: georgia, palatino; font-size: x-small;">Installation shot of Harry Sanderson's exhibition&nbsp;<em>Unified Fabric</em>, October 2013. Courtesy of Arcadia Missa 2014<br /></span></p> <p style="line-height: 26px; text-align: center;"><span style="font-family: georgia, palatino; font-size: x-small;">&nbsp;</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">I <a href="http://www.artslant.com/lon/articles/show/41544" target="_blank">recently interviewed Rosza Farkas</a> from Arcadia Missa, so won&rsquo;t write again about them too much. However, as a project started from conversations born at art school, it&rsquo;s important to mention them and applaud their success many years on. The gallery space in Peckham now shows work from international artists and has a publishing program that draws together critical dialogue around the work they show. The space opens again in February, and will be showing the work of some regulars and some new artists whom they have not worked with before.</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">&nbsp;</span>&nbsp;</p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;"><strong><a href="http://chandelierprojects.com/%20">Chandelier Projects</a></strong>,&nbsp;</span><span style="font-family: georgia, palatino; font-size: medium;">Studio 16, Victor House, 282a Richmond Road, Hackney, London E8 3QS&nbsp;</span></p> <p style="line-height: 26px; text-align: center;"><span style="font-family: georgia, palatino; font-size: medium;"><img src="http://dbprng00ikc2j.cloudfront.net/userimages/32120/1dkh/20150120170731-Web_JonathanMurphyStudioWallPrint_670.jpg" alt="" /></span></p> <p style="line-height: 26px; text-align: center;"><span style="font-family: georgia, palatino; font-size: x-small;">Jonathan Murphy,&nbsp;<em>Studio Installation</em>, Cyanotype on wall, 2014. Courtesy the artist and Chandelier projects</span></p> <p style="line-height: 26px; text-align: center;"><span style="font-family: georgia, palatino; font-size: x-small;">&nbsp;</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">Chandelier Projects is run out of the artist Karen Knorr&rsquo;s studio, and is supported by [space] studios. It enables artists to show a body of work, which is then presented with an essay that contextualizes or takes as a starting point the works in the show. Since September 2013, they have had eight exhibitions, including most recently the reflective works of Amy Petra Woodward, which almost obscure their printed imagery as they reflect light into your eyes. On February 6&nbsp;the gallery opens Jonathan Murphy&rsquo;s <em>As you walked in the room</em>.&nbsp;</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">The project is managed by writer and curator Daniel Blight, who has contributed two of the eight essays, all of which can be found on their <a href="http://chandelierprojects.com/Essays" target="_blank">website</a>. The essays are broad&mdash;from Chris Fite-Wassilak&rsquo;s &ldquo;Mercurial Injections,&rdquo; accompanying Woodward&rsquo;s show, which describes the odd processes of dissection and all its gruesome eventualities, to Alice Hattrick&rsquo;s &ldquo;Untitled (rods and cones),&rdquo; which takes its name from Tom Owen&rsquo;s work, starting with observations and wandering off through other artists, writing on sound, blurring the experience of looking and listening as you read it.</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">&nbsp;</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">&mdash;<a href="http://www.artslant.com/global/artists/show/377935-phoebe-stubbs?tab=REVIEWS" target="_blank">Phoebe Stubbs</a></span></p> <p style="line-height: 26px; text-align: justify;">&nbsp;</p> Mon, 26 Jan 2015 12:07:58 +0000 http://www.artslant.com/cn/Articles/list http://www.artslant.com/cn/Articles/list Paris Dispatches: The Streets Are Lined with Dreams of Sonia <p style="line-height: 26px; text-align: justify;" dir="ltr"><em style="font-family: georgia, palatino; font-size: medium;">Paris Dispatches is <a href="http://www.artslant.com/global/artists/show/213864-brett-day-windham?tab=REVIEWS" target="_blank">the blog</a> of ArtSlant's Georgia Fee Artist in Residence, Brett Day Windham, who will be undertaking her residency in Paris during January and February 2015. She will be using the blog to share her process, work, and experience throughout the residency. You can find more information about ArtSlant's Georgia Fee Artist/Writer Residency&nbsp;<a href="http://www.artslant.com/par/articles/show/33747" target="_blank">here</a>.</em><span style="font-family: georgia, palatino; font-size: medium;"><br /></span></p> <p style="line-height: 26px; text-align: justify;" dir="ltr"><em style="font-family: georgia, palatino; font-size: medium;">&nbsp;</em></p> <p style="line-height: 26px; text-align: justify;" dir="ltr"><strong><span style="font-family: georgia, palatino; font-size: medium;">PART I: Paris is rather empty / Still I walk on / La grippe</span></strong></p> <p style="line-height: 26px; text-align: center;" dir="ltr"><span style="font-family: georgia, palatino; font-size: medium;"><img src="https://lh4.googleusercontent.com/-GpPOe4pHH9kVWmfvC0_FC1tNTv0EQSzWMJwyVErM694NtNQ-Ry9tePA_YZt_1h7M4iOcosONoFKOEM0ITcfTskYII1uu7Jlklydn8OC44wsaltSSCS-7MNrpWnX4S4E1A" alt="FullSizeRender.jpg" width="305px;" height="409px;" /><img src="https://lh3.googleusercontent.com/_iAJW7rgUAqdbifk-b8LNQvFgwrw7Yy8AJwUn_itSQjNYh1eAHKS5VSTQNeCEEx_Tkh7IOLN1dQW0u1Ekw1WJ3px7ZpWcPN_NWyDaD6AUiR9uf5G2OLijwHnKGgT1fP_Xw" alt="FullSizeRender.jpg" width="307px;" height="410px;" /></span></p> <p style="line-height: 26px; text-align: center;" dir="ltr"><span style="font-family: georgia, palatino; font-size: small;">Two photo-collages from my first week of Paris sidewalks</span></p> <p style="line-height: 26px; text-align: center;">&nbsp;</p> <p style="line-height: 26px; text-align: justify;" dir="ltr"><span style="font-family: georgia, palatino; font-size: medium;">Paris is empty, and people are still scared. This is what every shopgirl and taxi driver and doctor I&rsquo;ve seen assures me. While I am pleased that <a href="http://www.thedailybeast.com/articles/2015/01/14/read-the-new-issue-of-charlie-hebdo-in-english.html" target="_blank"><em>Charlie Hebdo</em>&rsquo;s new issue sold out in hours</a>, I am also pleased that there are some thoughtful articles being written like <a href="https://nplusonemag.com/online-only/online-only/equal-in-paris/" target="_blank">this one</a>, considering the moment when crude cultural caricatures could actually reflect an old and civilized culture still rife with racism and oppression. Nothing is simple.</span></p> <p style="line-height: 26px; text-align: justify;" dir="ltr"><span style="font-family: georgia, palatino; font-size: medium;">In the midst of this affirmed <em>douleur</em>, I have developed a kind of routine: I get up, put on my drugstore pedometer, and leave the house. What time I go and for how long still varies, but I walk until I can&rsquo;t anymore and then I return to my apartment, record the distance and number of steps taken in my notebook, and trace out my meanderings on my map of Paris&mdash;which I&rsquo;ve overlaid with big pieces of transparent vellum. The time and length of my walks have been affected by the level of terror attack happening that day, my endless jet lag, how hard it is raining, or how sick I am (today: very, I have contracted <em>La Grippe</em>, along with the rest of the stolid people remaining in Paris).</span></p> <p style="line-height: 26px;" dir="ltr"><span style="font-family: georgia, palatino; font-size: medium;"><img style="display: block; margin-left: auto; margin-right: auto;" src="https://lh6.googleusercontent.com/OHgA0_5qabmL6YA29ifm5ZGNTPzY6Hd9LlMnMXmPPMXj4_uCiEOWw6y71D6RpWRvU1leHA6M3lwRUWJtQf5BiDzVAg7CMkc3ECsl-yiv0wadzct1Ft4GM-MCwfVAw3eV2Q" alt="" width="624px;" height="468px;" /></span></p> <p style="line-height: 26px; text-align: center;" dir="ltr"><span style="font-family: georgia, palatino; font-size: small;">A section of my map tracings after the first week in Paris</span></p> <p style="line-height: 26px; text-align: center;">&nbsp;</p> <p style="line-height: 26px; text-align: justify;" dir="ltr"><span style="font-family: georgia, palatino; font-size: medium;">I have been through the Tuileries, to the Museum of Art Modern to see the huge, exhaustive, wonderful <a href="http://www.mam.paris.fr/en/node/985" target="_blank">Sonia Delaunay</a>&nbsp;show<a href="#sonia">*</a> (and, as a surprise, the extensive and appealing <a href="http://www.mam.paris.fr/en/expositions/exposition-david-altmejd" target="_blank">David Altmejd</a> show), retraced <a href="http://www.balzacsparis.ucr.edu/visit/quartier_latin.html" target="_blank">Balzac&rsquo;s steps through the Latin Quarter</a>, and promenaded down the Rue Saint Honor&eacute;. I have made pilgrimage to the <a href="http://www.derbyhotels.com/blog/en/marches-aux-puces/" target="_blank">March&eacute; Aux Puces</a>, and out to the <a href="http://www.fondationlouisvuitton.fr/" target="_blank">Fondation Louis Vuitton </a>in the Bois de Bologne to see the <a href="http://www.artslant.com/par/articles/show/41570" target="_blank">Olafur Eliasson exhibition</a>. I have meandered through the alleys and <em>rues pav&eacute;</em> in my own neighborhood, Le Marais. The graphite lines on my map slowly grow denser, and I have been finding a few good objects along the way. (Paris is quite clean, so one must keep their eyes peeled).</span></p> <p style="line-height: 26px; text-align: center;" dir="ltr"><span style="font-family: georgia, palatino; font-size: medium;"><img style="display: block; margin-left: auto; margin-right: auto;" src="https://lh6.googleusercontent.com/w8lx2m5GOi_H1OVvYQAi-xZh6PfM55XuLomN3zHf6v10Q01nfmz2LcS7mhmCHa89EcfRaVvvkTV0Qjg8rnS8CbXAE7sgwMTCM3ldmJoKpSq2SWrLDbXAQR8c7XhSfx8KbQ" alt="feather.JPG" width="624px;" height="468px;" /><span style="font-size: small;">The ostrich feather, plucked from doom</span></span></p> <p style="line-height: 26px; text-align: center;">&nbsp;</p> <p style="line-height: 26px; text-align: justify;" dir="ltr"><span style="font-family: georgia, palatino; font-size: medium;">Current favorites include an ostrich feather from the floor of a vintage shop, a chalkboard-style price tag on a stick from outside a florist, and some huge lengths of red and white caution tape. I have begun thinking about how to weave them all together, to attach them. While I admittedly have a long-time attraction to caution tape, it feels particularly fitting in relation to the state of affairs in Paris right now.</span></p> <p style="line-height: 26px;" dir="ltr"><span style="font-family: georgia, palatino; font-size: medium;"><img style="display: block; margin-left: auto; margin-right: auto;" src="https://lh3.googleusercontent.com/LrxaImqkHekxaWZQnvm51whx22FZCVfEw7fO7ojiHqq-rpTfNDQ8z5qZf0peBLQTbPpiVHk9gNc8R7uNfvy20iu5LBnSYtymu7QJR318NKeEuMkIHc23MhnskNun7zcv2A" alt="" width="624px;" height="351px;" /></span></p> <p style="line-height: 26px; text-align: center;" dir="ltr"><span style="font-family: georgia, palatino; font-size: small;">A photograph I took in a Milan construction site, Summer 2009</span></p> <p style="line-height: 26px; text-align: justify;"><br /><br /></p> <p style="line-height: 26px; text-align: justify;" dir="ltr"><strong><span style="font-family: georgia, palatino; font-size: medium;">PART II: <a name="sonia"></a>* Where a footnote becomes its own post: On Sonia Delaunay-Terk</span></strong></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">If I could just return to Sonia Delaunay for a moment, there is more to say here. Years ago, my father gave me </span><a style="font-family: georgia, palatino; font-size: medium;" href="http://www.amazon.com/Sonia-Delaunay-Artist-Stanley-Baron/dp/0500237034" target="_blank">a book on Sonia Delaunay</a><span style="font-family: georgia, palatino; font-size: medium;">. Like many, I had heard of her husband, Robert, about whom I was only marginally interested. The book on Mme Delaunay-Terk blew my mind. She was an enthusiast: she loved art, color, clothes, music, life, and wrapped her able arms around all of it. She was perhaps under-recognized until late in life, but did the hard work of supporting her husband and family during wartime&mdash;and did it as an artist. Before I left for Paris, friends repeatedly demanded to know my plans. I would reply that my first day would hold a visit to </span><a style="font-family: georgia, palatino; font-size: medium;" href="http://www.mam.paris.fr/en/node/985">the Sonia Delaunay show at the MaM</a><span style="font-family: georgia, palatino; font-size: medium;">, and found that few people knew of her. As often happens with cult figures, though, those who did know her were thrilled. I was so pleased to learn that here in Paris she is not cult, but mainstream. The show is enormous, and presents all the facets of a Life In Art I have long admired.</span></p> <p style="line-height: 26px; text-align: justify;" dir="ltr"><span style="font-family: georgia, palatino; font-size: medium;">She was active in any-and-every type of artmaking that interested her, and to which she could apply her color/rhythm theory of Simultanisme (simultaneity&mdash;the sensation of movement when contrasting colors are next to each other, which I think makes her a great candidate for <a href="http://en.wikipedia.org/wiki/Synesthesia" target="_blank">synesthesia</a>). She made paintings and posters and prints for textiles and ballet costumes and films; she made illustrated books and poem-dresses with her friend <a href="http://www.arthistoryarchive.com/arthistory/dada/images/Tristan-Tzara-07.gif" target="_blank">Tristan Tzara,</a> and decorated trunks and decks of cards. </span></p> <p style="line-height: 26px; text-align: justify;" dir="ltr"><span style="font-family: georgia, palatino; font-size: medium;">There was a restored film which blew me away; it may seem anecdotal to most people&mdash;it&rsquo;s barely mentioned by the museum&mdash;but I thought it brought her drawings to life. For the film, she created a series of tableaux, all resplendent with her power-clashing textile patterns, and placed friends and models inside them; individually they sip tea, pull printed scarves from a painted trunk, twirl in a patterned skirt, and giggle. Finally Madame Delaunay herself laughs before the camera, engulfed in her own floating, wild &ldquo;tissues.&rdquo; I watched the film six times, transfixed by her total control over the thing.</span></p> <p style="line-height: 26px; text-align: justify;" dir="ltr"><span style="font-family: georgia, palatino; font-size: medium;">Following are images of Mme Delaunay reaching out from the frame into the world&mdash;and perhaps into a different frame altogether:</span></p> <p style="line-height: 26px; text-align: center;" dir="ltr"><span style="font-family: georgia, palatino; font-size: medium;"><img src="https://lh3.googleusercontent.com/CCw_mNmtYQGhgW5e-zLtbdbyGefApdjBtg-lWfIQkGS0kEXH5vAD5gbJq6FxPgZGALeYsnNldis2K8Rs-VTJEsAg6VLTkXNXXvW96DtC4hJPaLMOo2F-SK_Bf0o49dDK7w" alt="" width="323px;" height="430px;" /><img src="https://lh6.googleusercontent.com/UyJ5BkZ8XX7sVvenE8P_4VGpPMiDioeXyLLMJMXLpGxhmpSguuL18yzT9Dd_p1li_W6kVZj-PL0p8t-RI3bqtRuQdzFOEnZu7qS2D-mdebmFrhodR58dMTYVJFfondMfQQ" alt="" width="292px;" height="431px;" /></span></p> <p style="line-height: 26px; text-align: center;" dir="ltr"><span style="font-family: georgia, palatino; font-size: small;">(left) <em>The Flamingo Dancer</em> (as labelled on the English-Language tag at the MaM show), Oil painting, 1916</span></p> <p style="line-height: 26px; text-align: center;" dir="ltr"><span style="font-family: georgia, palatino; font-size: small;">(right) "Sonia Delaunay; Ses Peintures, Ses Objets, Ses Tissus Simultan&eacute;s, Ses Modes" 1925, Illustration</span></p> <p style="line-height: 26px;" dir="ltr"><span style="font-family: georgia, palatino; font-size: medium;"><img style="display: block; margin-left: auto; margin-right: auto;" src="https://lh6.googleusercontent.com/097I_PzWW0HdcCrBILYS8dAaBP5rhtGtlSVwPZQGKG-B_W55lh9L7d71l93EZhjMofskhrDww3WRcWF_QAWWisMShlK1LC6oav9lDsZ7eL8lX-CHY8YJDct3dzOXiXNXKg" alt="" width="591px;" height="591px;" /></span></p> <p style="line-height: 26px; text-align: center;" dir="ltr"><span style="font-family: georgia, palatino; font-size: small;">A Coat for Gloria Swanson, 1923&ndash;24</span></p> <p style="line-height: 26px;" dir="ltr"><span style="font-family: georgia, palatino; font-size: medium;"><img style="display: block; margin-left: auto; margin-right: auto;" src="https://lh3.googleusercontent.com/eo2SMrZvqPbgY_KuYkGUfhWvjH-Onhs65M6xnMp8fBwS2RehZPYyPOrjqga-iFFbw4nnaoqbEWRrHT4JECYoPFa1N9xssNzzSJkr6nyTihR3OyNAhciHnbomsdeid7sPAw" alt="" width="595px;" height="430px;" /></span></p> <p style="line-height: 26px; text-align: center;" dir="ltr"><span style="font-family: georgia, palatino; font-size: small;">A still from Sonia Delaunay&rsquo;s conserved short film, snapped covertly at the MaM</span></p> <p style="line-height: 26px; text-align: justify;">&nbsp;</p> <p style="line-height: 26px; text-align: justify;" dir="ltr"><span style="font-family: georgia, palatino; font-size: medium;">More than just the untouchable beauty of her paintings, her embrace of actual daily life&mdash;and a commitment to support her husband and their life together&mdash;she excelled at, then pushed out from the theoretical world of painting into some weird, real, beautiful, avant-garde territory reserved for few women of her own&mdash;or any&mdash;era. Such chutzpah. Perhaps at the time it may have felt like over-exposure, I don&rsquo;t know. To me it looks resourceful, effusive, and a slap in the face of the World Wars swarming around her and against her&mdash;she was a Jewish-French immigrant, after all. </span></p> <p style="line-height: 26px; text-align: justify;" dir="ltr"><span style="font-family: georgia, palatino; font-size: medium;">There is no good reason to use the outdated term &ldquo;applied arts&rdquo; to someone who applied their creativity to everything from the beginning. Where a fancy rug might seem (for some other wildly successful late career artist) like a ploy to conquer the space both above and below the rich collector&rsquo;s sofa, Mme Delaunay wanted it all, all along; she wanted the curtains, the dress the collector was wearing, the wallpaper, the deck of cards on the table, dust jackets for Tzara&rsquo;s poetry books on the shelf, a mural and a mosaic outside, the pattern on their car, and the upholstery on the sofa itself to be borne of her master mind.</span></p> <p style="line-height: 26px; text-align: justify;" dir="ltr"><span style="font-family: georgia, palatino; font-size: medium;">She has become the guiding spirit for <a href="http://www.artslant.com/par/articles/show/41719" target="_blank">my project</a> here in Paris, a project which is still taking form. As I continue to walk the streets and the arcades, searching for ghosts and the specter of the Flaneur, it is her spirit that I seem to conjure. I am desirous of that omnipotent eye, that delirious yet structured love of color, that breadth of expression both domestic and professional. I think the ways in which she affects my work here in Paris will reveal themselves, over time.</span></p> <p style="line-height: 26px;" dir="ltr"><span style="font-family: georgia, palatino; font-size: medium;"><img style="display: block; margin-left: auto; margin-right: auto;" src="https://lh6.googleusercontent.com/qDu0gYNTjKt_9tHeMG0h5ljBqY-xCoTa04CAgfuTCFhCYjUUkXdW875OI2FEpEN8W7355MgO5mAddZZZSyS_ifuK5muGlifRQZjWGfIMqcRalTiHabTQJLMT3ClUolvB_A" alt="photo 1.PNG" width="624px;" height="832px;" /></span></p> <p style="line-height: 26px; text-align: center;" dir="ltr"><span style="font-family: georgia, palatino; font-size: small;">My Sketch for a Lady Fl&acirc;neur, January 2015</span></p> <p style="line-height: 26px; text-align: center;" dir="ltr"><span style="font-family: georgia, palatino; font-size: small;">&nbsp;</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">&mdash;<a href="http://www.artslant.com/global/artists/show/213864-brett-day-windham" target="_blank">Brett Day Windham</a></span></p> <p style="line-height: 26px; text-align: justify;" dir="ltr"><em><span style="font-family: georgia, palatino; font-size: small;">&nbsp;</span></em><span style="font-size: 12px;">&nbsp;</span></p> <p style="text-align: justify;" dir="ltr"><span style="font-size: medium;"><em><span style="font-family: georgia, palatino;"><a href="http://brettdaywindham.com/" target="_blank">Brett Day Windham </a>(born Cambridge, England, raised Providence, Rhode Island) is a multidisciplinary artist working with sculpture, installation and collage. You can find the full list of blog posts from her Paris residency <a href="http://www.artslant.com/global/artists/show/213864-brett-day-windham?tab=REVIEWS" target="_blank">here</a>.</span></em></span></p> <p style="line-height: 26px; text-align: justify;" dir="ltr">&nbsp;</p> Mon, 19 Jan 2015 17:59:55 +0000 http://www.artslant.com/cn/Articles/list http://www.artslant.com/cn/Articles/list Short Film Program IFFR: An Alternative Stage for Artists <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">Last year at the <a href="https://www.iffr.com/en/" target="_blank">International Film Festival Rotterdam</a>, a Tiger Award for Short Films was won by Sebastian Buerkner, alumnus of the Chelsea College of Art and Design. In 2013, all three Tiger Awards in this category went to artists: Beatrice Gibson, Erik van Lieshout and Zachary Formwalt. And it could happen again this year. Twelve out of the sixteen eligible films carry the &ldquo;art&rdquo; label.</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">When the IFFR shorts program started some ten years ago, the organization deliberately choose to focus on productions made in the margins of the traditional film industry. Most international festivals for short film&mdash;Oberhausen, Ghent, and Clermont-Ferrand come to mind, as well as <a href="http://www.goshort.nl/" target="_blank">Go Short!</a> in The Netherlands&mdash;show cinematic narratives created by certified filmmakers. But the hunting grounds of IFFR-programmers include biennials, galleries, museums, and artists&rsquo; spaces. They also do a lot of studio visits and personally stay in contact with artists throughout the year. It&rsquo;s the artists themselves&mdash;and not a producer or distributor, as is usually the case in the world of cinema&mdash;who submit their films for festival selection. Every year the IFFR-programmers assess no fewer than 3,500 shorts, ultimately selecting 150&ndash;200 of them for one of the festival&rsquo;s six special programs.</span></p> <p style="line-height: 26px; text-align: justify;"><img src="http://dbprng00ikc2j.cloudfront.net/userimages/32120/1dkh/20150119123120-rakinglight1.jpg" alt="" /></p> <p style="line-height: 26px; text-align: center;"><span style="font-family: georgia, palatino; font-size: x-small;">James Richards<em>, Raking Light</em>, 2014</span></p> <p style="line-height: 26px; text-align: center;"><span style="font-family: georgia, palatino; font-size: x-small;"><img src="http://dbprng00ikc2j.cloudfront.net/userimages/32120/1dkh/20150119125131-raymond2.jpg" alt="" /></span></p> <p style="line-height: 26px; text-align: center;"><span style="font-family: georgia, palatino; font-size: x-small;">Nina Yuen,&nbsp;<em>Raymond</em>, 2014</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;"><img src="http://dbprng00ikc2j.cloudfront.net/userimages/32120/1dkh/20150119123154-nightsoil.jpg" alt="" /></span></p> <p style="line-height: 26px; text-align: center;"><span style="font-family: georgia, palatino; font-size: x-small;">Melanie Bonajo, <em>Night Soil: Fake Paradise</em>, 2015</span></p> <p style="line-height: 26px; text-align: center;"><span style="font-family: georgia, palatino; font-size: x-small;">&nbsp;</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">The most important of these programs is, of course, the <a href="https://www.iffr.com/professionals/themes/tiger-awards-competition-for-short-films-2015/" target="_blank">Tiger Awards Competition</a>. This year&rsquo;s entry list yields quite a few regulars from the international art circuit. Only a couple of months ago James Richards won the prestigious Hamlyn Award and was nominated for the Turner Prize. His <em>Raking Light</em>, a sizzling poetic meditation on the medium of film, is a good candidate for a Tiger Award. <em>Raymond</em> by Nina Yuen <a href="http://www.artslant.com/ams/articles/show/38584" target="_blank">debuted at De Appel</a> only a year ago. And Melanie Bonajo&mdash;in competition with a hallucinatory visual essay on feminism and eco-consciousness&mdash;stepped into the limelight when she won the first edition of the <a href="http://mkaward.nl/?lang=en" target="_blank">MK Award</a> in 2013. But there are also some lesser-known names, such as the cross-disciplinary collective The Propeller Group based in Ho Chi Minh City and Los Angeles.</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;"><img src="http://dbprng00ikc2j.cloudfront.net/userimages/32120/1dkh/20150119122602-moonblink.jpg" alt="" /></span></p> <p style="line-height: 26px; text-align: center;"><span style="font-family: georgia, palatino; font-size: x-small;">Rainer Kohlberger, <em>Moonblink</em>, 2015</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;"><img src="http://dbprng00ikc2j.cloudfront.net/userimages/32120/1dkh/20150119122701-quietzone3.jpg" alt="" /></span></p> <p style="line-height: 26px; text-align: center;"><span style="font-family: georgia, palatino; font-size: x-small;">Karl Lemieux and David Bryant,&nbsp;<em>Quiet Zone</em>, 2015</span></p> <p style="line-height: 26px; text-align: center;"><span style="font-family: georgia, palatino; font-size: x-small;">&nbsp;</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">Only a quarter of the competitors consider themselves filmmakers and not artists. Without exception these are &ldquo;experimental filmmakers,&rdquo; however, descendants of Stan Brakhage, Ken Jacobs, and others who stretched the idea of film way beyond the realms of mass entertainment. Rainer Kohlberger&rsquo;s <em>Moon Blink</em> was created using no camera but only software, resulting in a digital artwork that refers to the classic abstract films of the 1920s. <em>Quiet Zone</em> by Karl Lemieux and David Bryant was shot on chemically corroded celluloid, which lends the tale about electromagnetic hypersensitivity a scary touch of surrealism.</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;"><img src="http://dbprng00ikc2j.cloudfront.net/userimages/32120/1dkh/20150119122925-bible1.jpg" alt="" /></span></p> <p style="line-height: 26px; text-align: center;"><span style="font-family: georgia, palatino; font-size: x-small;">Tommy Hartung,&nbsp;<em>THE BIBLE</em>, 2014</span></p> <p style="line-height: 26px; text-align: center;"><span style="font-family: georgia, palatino; font-size: x-small;"><img src="http://dbprng00ikc2j.cloudfront.net/userimages/32120/1dkh/20150119122744-mainsqueeze.jpg" alt="" /></span></p> <p style="line-height: 26px; text-align: center;"><span style="font-family: georgia, palatino; font-size: x-small;">Jon Rafman,&nbsp;<em>Mainsqueeze</em>, 2014</span></p> <p style="line-height: 26px; text-align: center;"><span style="font-family: georgia, palatino; font-size: x-small;">&nbsp;</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">A number of works in competition have previously been screened at art venues: Tommy Hartung&rsquo;s <em>THE BIBLE</em>, for example, featured in December at On Stellar Rays in London. And Jon Rafman&rsquo;s <em><a href="http://vimeo.com/100324610" target="_blank">Mainsqueeze</a></em> was part of a group show at the Future Gallery in Berlin. In order to be included in the IFFR program works have sometimes been converted from installations to single screen versions, which can be a pretty radical adaptation. But artists are eager to crossover into the realm of cinema and willing do so. During the shorts program (January 21&ndash;26) the Lantaren/Venster theater is packed with 138 short filmmakers from all over the world, looking for new contacts and collaborators. Cinema is the new frontier for artists, the film theater an alternative stage for their work.</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">But only a few artists get the opportunity to step into the world of commercial filmmaking. In an attempt to help them the IFFR started the <a href="https://www.iffr.com/professionals/cinemine/art-film/" target="_blank">Art:Film</a> program two years ago. As part of the co-production platform Cinemart a few selected projects&mdash;this year it&rsquo;s <em>Cactus Flower</em> by Hala Elkoussy, <em>Hurrah, wir leben noch!</em> by Agnieszka Polska, and <em>Mr. Sing Sing</em> by Phil Collins&mdash;are presented to producers, potential investors, and sales agents. Moreover, artists are coached about how to deal with the dynamics of film production, which are very different from making art. Film production is aimed at reaching the largest possible audience while art often dels in exclusivity. Most films are co-produced and draw their working capital from a wide array of sources. In order to make a film a financial success producers have to invest in marketing and wooing international sales agents. These phenomena are largely unknown in the art world.</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">But even with the most intensive counseling and matchmaking not every artist crossing over into cinema succeeds at becoming the next Steve McQueen, or even equaling the modest success of Sam Taylor Wood&rsquo;s <em>Nowhere Boy</em> or Gillian Wearing&rsquo;s <em>Self Made</em>. For <a href="http://www.artslant.com/ams/articles/show/30326" target="_blank">Nicolas Provost</a> things started off pretty good when in 2012 his film <em>The Invader</em> was selected for the Venice Film Festival. The thriller about an African illegal immigrant searching for a better life in Brussels subsequently traveled to Rotterdam, where it was picked up by a distributor with high hopes of scoring an arthouse hit. Only a few weeks after its release, however, the film made a quiet exit. Repeatedly, the regular film theater circuit has proven itself not to be the most conducive environment for experimental, artistically inclined films. Artists with big screen ambitions are mostly limited to festivals. But even so, an average festival venue will easily accommodate more viewers than any gallery.</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">&nbsp;</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">&mdash;<a href="http://www.artslant.com/global/artists/show/356010-edo-dijksterhuis?tab=REVIEWS" target="_blank">Edo Dijksterhuis</a></span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">&nbsp;</span></p> <p style="line-height: 26px; text-align: justify;"><em><span style="font-family: georgia, palatino; font-size: medium;">The International Film Festival Rotterdam 2015 runs from January 21&ndash;February 1, 2015, at s</span><span style="font-family: georgia, palatino; font-size: medium;">everal locations in Rotterdam. More information about the program and schedule <a href="https://www.iffr.com/en/" target="_blank">here</a>.</span></em></p> <p style="line-height: 26px; text-align: justify;"><em><span style="font-family: georgia, palatino; font-size: medium;">&nbsp;</span></em></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: x-small;">(Image at top: The Propeller Group, <em>The Living Need Light, The Dead Need Music</em>, 2014, Film still)</span></p> Mon, 19 Jan 2015 12:54:20 +0000 http://www.artslant.com/cn/Articles/list http://www.artslant.com/cn/Articles/list Happy Birthday, Art! The Party Report from Pilsen <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">The French Fluxus artist&nbsp;</span><a style="font-family: georgia, palatino; font-size: medium;" href="http://en.wikipedia.org/wiki/Robert_Filliou" target="_blank">Robert Filliou</a><span style="font-family: georgia, palatino; font-size: medium;">&nbsp;was the first to proclaim &ldquo;</span><a style="font-family: georgia, palatino; font-size: medium;" href="http://www.artsbirthday.net/" target="_blank">Art&rsquo;s Birthday</a><span style="font-family: georgia, palatino; font-size: medium;">&rdquo; as a public holiday on January 17. Coincidentally, Art shares the same birthday as Filliou, who came up with the idea&nbsp;in 1963. The myth is that 1,000,000 years ago, someone threw a dry sponge into a bucket of water and voil&agrave;: Art was born. It was first publicly celebrated in Aachen, Germany, and Paris simultaneously in 1973, and the phenomenon has grown every year with celebrations now taking place across the US and Canada and throughout Europe&mdash;from Calgary to Louisville, Belfast to Ljubljana.</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">From galas to art openings, mail art to fax machine and telephone concerts, past Art&rsquo;s Birthday festivities have included flaming cakes, arty pi&ntilde;atas, a weather data exchange between Sydney and Helsinki, and even an&nbsp;<a href="http://arsacustica.wordpress.com/2010/11/13/tracklist-cd-1/" target="_blank">Art&rsquo;s Birthday double album</a>. Vancouver&rsquo;s&nbsp;<a href="http://front.bc.ca/" target="_blank">Western Front</a>&nbsp;has been hosting events since 1989, but this year I was in Pilsen, Czech Republic, while artists worldwide presented gifts to Art&mdash;who turned 1,000,052 on Saturday&mdash;and celebrated with alternative gigs, installations, and performances.</span></p> <p style="line-height: 26px; text-align: justify;"><img src="http://dbprng00ikc2j.cloudfront.net/userimages/32120/1dkh/20150119105038-DSC_0115.JPG" alt="" /></p> <p style="line-height: 26px; text-align: center;"><span style="font-family: georgia, palatino; font-size: x-small;">Sound Walk</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">How do they do&nbsp;<a href="http://www.rozhlas.cz/artsbirthday/2015/_zprava/1430394" target="_blank">Art&rsquo;s Birthday in the Czech Republic</a>? With conceptual fireworks. The night started with a bang on January 16, the night before Art&rsquo;s official birthday (as Europeans bring in birthdays the night before). Organized by Czech Radio rAdioCUSTICA, which focuses on acoustic arts, and Euroradio Ars Acustica Group, the event brought revelers together for a Sound Walk. It began at the student gallery Vestředu, which belongs to the University of West Bohemia&rsquo;s Faculty of Design, and ended up at Pap&iacute;rna, a former paper mill-turned-alternative venue with concerts events and a rainbow-lit ceiling. In other words, it was a night all about sound art and technology. And it was loud.</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">Adam Železny&rsquo;s conceptual fireworks show began in Vestředu&rsquo;s three front windows. Artist Sara Pinheiro made a few remarks as everyone filtered inside to watch her make sound art from audience members&rsquo; dancing and stomping as the media shot the heavily documented event.</span></p> <p style="line-height: 26px; text-align: justify;"><img src="http://dbprng00ikc2j.cloudfront.net/userimages/32120/1dkh/20150119103520-DSC_0083.JPG" alt="" height="300" /><img src="http://dbprng00ikc2j.cloudfront.net/userimages/32120/1dkh/20150119103545-organizers.JPG" alt="" height="300" /></p> <p style="line-height: 26px; text-align: center;"><span style="font-family: georgia, palatino; font-size: x-small;">(left) Speakers (right) Organizers&nbsp;Ladislav Železny andd Magda Holubov&aacute;</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">After a few glasses of wine, the sound walk by Vladim&iacute;ra Merty began. Light-reactive speakers were handed to audience members. &ldquo;Music is listening to what's going on around you,&rdquo; said Ladislav Železny, co-organizer with Magda Holubov&aacute;. &ldquo;Every year for Art&rsquo;s Birthday, we try to find something that happened in 2014, or do something special.&rdquo;</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">This is the first time Art&rsquo;s Birthday was observed in Pilsen. They wanted to commemorate the one-year anniversary of the new student gallery, and since Pap&iacute;rna opened four months ago, it was also a celebration of a new type of venue landing in Pilsen&mdash;one which cultivates indie, local culture and is probably the most significant venue in all of the&nbsp;<a href="http://www.plzen2015.cz/en/events/arts-birthday-2015" target="_blank">Pilsen 2015 Capital of Culture</a>&nbsp;Programming.</span></p> <p style="line-height: 26px; text-align: justify;"><img src="http://dbprng00ikc2j.cloudfront.net/userimages/32120/1dkh/20150119103819-DSC_0098.JPG" alt="" /></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;"><img src="http://dbprng00ikc2j.cloudfront.net/userimages/32120/1dkh/20150119103838-DSC_0110.JPG" alt="" /></span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">There was a spray paint performance along the river on plastic tarps taped to concrete walls. Someone lit a match, turning a spray can into a blowtorch. One spray can exploded. On the bridge, a lonesome speaker operated by a 2005-era cell phone sat on the bridge, farting out space sounds. The poor ducks and swans swam away. They&rsquo;re not into sound art.</span></p> <p style="line-height: 26px; text-align: center;"><img src="http://dbprng00ikc2j.cloudfront.net/userimages/32120/1dkh/20150119104009-DSC_0166.JPG" alt="" height="425" /><img src="http://dbprng00ikc2j.cloudfront.net/userimages/32120/1dkh/20150119104218-white_wigwam_1.JPG" alt="" height="425" /></p> <p style="line-height: 26px; text-align: center;"><span style="font-family: georgia, palatino; font-size: x-small;">(left) Live radio show (right) White Wigwam</span></p> <p style="line-height: 26px;"><span style="font-family: georgia, palatino; font-size: medium;">At club Pap&iacute;rna, a live programmed radio show kicked off with a host in an &ldquo;On Air&rdquo; locker. There were live performances, including a moody performance by the minimal synth artist White Wigwam.&nbsp;</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;"><img src="http://dbprng00ikc2j.cloudfront.net/userimages/32120/1dkh/20150119104414-Rudi_22_3.JPG" alt="" /></span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;"><img src="http://dbprng00ikc2j.cloudfront.net/userimages/32120/1dkh/20150119110045-Rudi22_2.JPG" alt="" /></span></p> <p style="line-height: 26px; text-align: center;"><span style="font-family: georgia, palatino; font-size: x-small;">Rudi22</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">There was then a performance by&nbsp;<a href="http://www.rozhlas.cz/artsbirthday/2015/_zprava/1437113" target="_blank">&reg;udi22, a laser light and music performance by&nbsp;</a>David Vrb&iacute;k and Jan Burian. These brilliant light performers are the next Kraftwerk. They bring together music and abstract visuals in a way that leaves the audience mesmerized.</span></p> <p style="line-height: 26px; text-align: justify;"><img src="http://dbprng00ikc2j.cloudfront.net/userimages/32120/1dkh/20150119105722-organizers_with_cake.JPG" alt="" /></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">The night wrapped up with a cake covered in Ninja Turtle-green icing emblazoned with Art&rsquo;s numerical age. Holubov&aacute; cut the cake, Železny blew out the candles.</span><span style="font-family: georgia, palatino; font-size: medium;">&nbsp;</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;"><img src="http://dbprng00ikc2j.cloudfront.net/userimages/32120/1dkh/20150119104559-DSC_0370.JPG" alt="" /></span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">Artists got the first slice, rightfully so. But I managed to get a corner piece. It was a vanilla cake with layers of strawberry and cream. It's good not to take art for granted and celebrate its presence in our lives once in a while, or at least once a year.</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">&nbsp;</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">&mdash;<a href="http://www.artslant.com/global/artists/show/241816-nadja-sayej" target="_blank">Nadja Sayej</a></span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">&nbsp;</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: x-small;">(All images: Courtesy of the author)</span></p> Mon, 19 Jan 2015 11:18:14 +0000 http://www.artslant.com/cn/Articles/list http://www.artslant.com/cn/Articles/list Inside the Neighborhood: What Is Islington? <p style="text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium; line-height: 26px;">So, I put a message on Facebook: where is good to hang in Islington? The responses are many and immediate, with more than one of my friends highly rating the cocktails served in <a href="http://www.69colebrookerow.com/" target="_blank">69 Colebrooke Row.</a> In addition, I find out <a href="http://www.akarilondon.co.uk/" target="_blank">Akari</a> is as good for sushi as Le Mercury is cheap and chearful. Then it hits me: what exactly do I know of this most intermediary of London areas?</span></p> <p style="text-align: center;"><span style="font-family: georgia, palatino; font-size: medium; line-height: 26px;"><img src="http://dbprng00ikc2j.cloudfront.net/userimages/101642/4cut/20150119084232-5659125376_2ec2668f8d_z.jpg" alt="" /></span></p> <p style="text-align: center;"><span style="font-size: x-small; font-family: georgia, palatino;">Regent's Canal, via Flickr user <a href="https://www.flickr.com/photos/zedzap/5659125376/" target="_blank">Nick Kenrick</a></span></p> <p style="text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium; line-height: 26px;"><br />Yeah, there have been blurry nights dancing to Motown and New Wave in the fantastic dive bar Slim Jim's&mdash;and,&nbsp;maybe earlier that same night I'd have sipped ale in the snug boat-like pub <a href="http://www.theislandqueenislington.co.uk/" target="_blank">The Island Queen.</a> Then there are the neon stripper graphics and stripped back plaster decor of the lively <a href="http://www.wenlockandessex.com/" target="_blank">Wenlock And Essex, </a>where I DJ from time to time. How about Regent's Canal? It does for social geography what Damien Hirst's <em>The Physical Impossibility Of Death in the Mind of Someone Living</em> does for sharks.</span></p> <p style="text-align: center;"><span style="font-family: georgia, palatino; font-size: medium; line-height: 26px;"><img src="http://dbprng00ikc2j.cloudfront.net/userimages/101642/4cut/20150119083900-3590013603_31c6d30bf1_z.jpg" alt="" /></span></p> <p style="text-align: center;"><span style="font-family: georgia, palatino; font-size: medium; line-height: 26px;"><span style="font-size: x-small;">Slim Jims,&nbsp;By Ewan Munro from London, UK, via <a href="http://commons.wikimedia.org/wiki/File:Slim_Jims_Liquor_Store,_Islington,_N1_(3590013603).jpg" target="_blank">Wikimedia Commons</a></span></span></p> <p style="text-align: center;"><span style="font-family: georgia, palatino; font-size: medium; line-height: 26px;"><span style="font-size: x-small;">&nbsp;</span></span></p> <p style="text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium; line-height: 26px;">But, in essence, what is Islington? If Islington were an actual person, or rather a character in a play, would they be some kind of facilitator, maybe a host between disparate elements? I imagine the prequel, called <em>Modern Islington: The Early Years</em>, chronicling the borough's conception, when character A, representing the clean white geometry of the monied West and character B, a shape shifting artisanal amalgam a few cigarettes' walk in the opposite direction get together over a battleship of daiquiris and fuck. Their baby they name after the old borough Islington, and that mixture of wealth and culture would grow up to become an ideal host for an art fair. If being your first time visiting, the more enjoyable it is if you arrive with the same faux sophistication Carrie Bradshaw might once have had crossing the Williamsburg Bridge to Bedford Ave.</span></p> <p style="text-align: center;"><span style="font-family: georgia, palatino; font-size: medium; line-height: 26px;"><img style="display: block; margin-left: auto; margin-right: auto;" src="http://dbprng00ikc2j.cloudfront.net/userimages/101642/4cut/20150119084016-7122319361_8841c323ae_z.jpg" alt="" /><span style="font-size: x-small;">Screen on the Green, via Flickr user <a href="https://www.flickr.com/photos/duncanh1/7122319361/" target="_blank">Duncan</a></span></span></p> <p style="text-align: center;"><span style="font-family: georgia, palatino; font-size: medium; line-height: 26px;"><span style="font-size: x-small;">&nbsp;</span></span></p> <p style="text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium; line-height: 26px;"><span>In the sequel, set in the present, we rejoin the twenty-something Islington. She has a cousin in Berlin called Prenzlauer-Berg and she shops at the local Budgens. She's proud of her gorgeous Art Deco cinema&nbsp;<a href="http://www.everymancinema.com/venues/screen-on-the-green/whats-on/#list" target="_blank">Screen On The Green</a>, letting it spill neon elegance along Upper Street, while in secret, hidden round the back of the mall, she grazes on popcorn to&nbsp;<em>Night at the Museum</em>&nbsp;in the grubby Vue multiplex. Much in the way an old newsagent might have offered to put a brown bag over a gentleman's magazine, she keeps these discretions hidden from her parents' visits. However, in embarrassment toward old Instagrams, full of backcombed hair reeking of cider and moshpit, she turns cruel and unforgiving, shutting down her devoted school friend&nbsp;<a href="http://www.buffalobar.co.uk/" target="_blank">The Buffalo Bar</a>, that stood at Highbury &amp; Islington Station since pre-memory.</span>&nbsp;</span></p> <p style="text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium; line-height: 26px;"><img style="text-align: center;" src="http://dbprng00ikc2j.cloudfront.net/userimages/101642/4cut/20150119083956-3256195388_e5b44ae276_z.jpg" alt="" /></span></p> <p style="text-align: center;"><span style="font-family: georgia, palatino; font-size: x-small; line-height: 26px;">Highbury &amp; Islington Station via Flickr user <a href="https://www.flickr.com/photos/55935853@N00/3256195388/" target="_blank">Ewan Munro</a></span></p> <p style="text-align: center;"><span style="font-family: georgia, palatino; font-size: x-small; line-height: 26px;">&nbsp;</span></p> <p style="text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium; line-height: 26px;">In the future, talks of a reboot receive numerous financial backhanders from the celebrity resident Mayor, whose clown-like exterior masks the dead mechanics of a sociopath only able to estimate human value in financial net worth. Islington will grow gracefully into middle age, her younger sisters Dalston and Shoreditch will continue to hook up with Uncle Notting Hill and Aunty Hampstead from time to time yet visits will become fewer and farther between. Ultimately, Dame Islington won't care; the constant flow of people coming and going, the gift of her genetic placing within the city, will keep her scarfed and in pre-theatre dinners until something bigger and meaner wipes the entire city into a cloud of smoke.</span></p> <p><span style="font-family: georgia, palatino; font-size: medium; line-height: 26px;">&nbsp;</span></p> <p style="text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium; line-height: 26px;">&mdash;<a href="http://www.artslant.com/global/artists/show/408013-paul-hanford?tab=REVIEWS" target="_blank">Paul Hanford</a></span></p> <p style="text-align: justify;"><span style="font-family: georgia, palatino; font-size: x-small; line-height: 26px;">&nbsp;</span></p> <p style="text-align: justify;"><span style="font-family: georgia, palatino; font-size: x-small; line-height: 26px;">(Image at top: via Flickr user <a href="https://www.flickr.com/photos/12614773@N07/6733353099/in/faves-deinnna/" target="_blank">Jordi Martorell</a>)</span></p> Wed, 21 Jan 2015 12:42:10 +0000 http://www.artslant.com/cn/Articles/list http://www.artslant.com/cn/Articles/list Villa Toronto: This Is Not an Art Fair! <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;"><em>"Villa Toronto&mdash;This is not an art fair!"</em></span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;"><em>&ldquo;Why are there so many people here?&rdquo;</em></span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;"><em>&ldquo;It&rsquo;s for the Raptors game.&rdquo;</em></span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;"><em><img src="http://dbprng00ikc2j.cloudfront.net/userimages/101642/4cut/20150119091535-ragnar_kjartansson05.jpg" alt="" /></em></span></p> <p style="line-height: 26px; text-align: center;"><span style="font-family: georgia, palatino; font-size: x-small;">Ragnar Kjartansson, <em>S.S. Hangover</em>, 2013, Music by Kjartan Sveinsson; Courtesy of the artist and i8 Gallery, Reykjavik and Luhring Augustine, New York</span></p> <p style="line-height: 26px; text-align: center;"><span style="font-family: georgia, palatino; font-size: x-small;">&nbsp;</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">This is a conversation I overheard between two hurried commuters while attending opening night for the event <em>Villa Toronto</em> a couple of evenings ago. Organized by Warsaw&rsquo;s <a href="http://en.rastergallery.com/" target="_blank">Raster Gallery</a> and presented in association with Toronto&rsquo;s <a href="http://www.artmetropole.com/" target="_blank">Art Metropole</a> and other local art organizations, the week-long event brings together 19 international private galleries to collectively curate a show for the city&rsquo;s public.</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">The confused conclusion of the two commuters may point to the event&rsquo;s successful intent: to create art encounters for the, perhaps unsuspecting, general public. The main exhibition's venue is Union Station&rsquo;s Great Hall, one of the city&rsquo;s busiest traffic points that sees some 300,000 commuters from Toronto and surrounding areas daily.</span></p> <p style="line-height: 26px; text-align: center;"><span style="font-family: georgia, palatino; font-size: medium;"><img src="http://dbprng00ikc2j.cloudfront.net/userimages/101642/4cut/20150119091203-jocelyn-wolff.jpg" alt="" /></span></p> <p style="line-height: 26px; text-align: center;"><span style="font-family: georgia, palatino; font-size: x-small;">Guillaume Leblon, <em>Le secret</em>, 2014, painted wax, painted resin, fabric, orange, lemon, steel, metal, ink, 80 x 400 x 10 cm; Photo: Francois Doury;<br />Courtesy of Jocelyn Wolff Gallery, Paris<br /></span></p> <p style="line-height: 26px; text-align: center;"><span style="font-family: georgia, palatino; font-size: x-small;">&nbsp;</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">Villa&rsquo;s advertisements make a point of clearly stating that it is <strong>not an art fair&mdash;</strong>despite the basic resemblance to one in bringing international galleries&nbsp;</span><span style="font-family: georgia, palatino; font-size: medium;">together</span><span style="font-family: georgia, palatino; font-size: medium;">&nbsp;</span><span style="font-family: georgia, palatino; font-size: medium;">to present in one space. What sets the ephemeral event apart from an art fair is Villa&rsquo;s mission to bring art for public viewing, always for free, in an attempt to undermine market-driven affairs. On opening night, the space was busy with both Toronto&rsquo;s art enthusiasts and perplexed passersby observing a range of works including installation, video, and performance art.</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">The outcome of the event seems perplexing as well: in an attempt to bring art to the general public, Villa certainly interferes with unassuming commuters&rsquo; daily route, provoking statements such as <em>&ldquo;feels out of place,&rdquo;&nbsp;</em><em>&ldquo;it&rsquo;s in the way,&rdquo;</em> or <em>&ldquo;I have no idea what this is.&rdquo;</em>&nbsp;Of course, among a disapproving audience, there is a volume of people that wholeheartedly support and appreciate Villa&rsquo;s effort&mdash;the cross-cultural circulation and exchange of art. This event gives to the public what art fairs fail to: the ability to interact with art without the ever-present concerns of institutional restraints, social or economic status, and of course, money.</span></p> <p style="line-height: 26px; text-align: center;"><span style="font-family: georgia, palatino; font-size: medium;"><img src="http://dbprng00ikc2j.cloudfront.net/userimages/101642/4cut/20150119091321-am_structure_extension_06_3000.jpg" alt="" /></span></p> <p style="line-height: 26px; text-align: center;"><span style="font-family: georgia, palatino; font-size: x-small; text-align: left;">Shane Krepakevich and Elif Saydam, Pop-up for Art Metropole, 2013, digitally printed fabric, digital print on paper, metal clips; Photo: Shane Krepakevich;&nbsp;</span><span style="font-family: georgia, palatino; font-size: x-small; text-align: left;">Courtesy of Art Metropole, Toronto</span><span style="font-family: georgia, palatino; font-size: x-small; text-align: left;">&nbsp;</span></p> <p style="line-height: 26px; text-align: center;"><span style="font-family: georgia, palatino; font-size: x-small; text-align: left;">&nbsp;</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">There should be at least some part of an artwork or exhibition not burdened by money, and for this reason, Villa is a great event with an exceptional intent. Its execution, outcome, and the public&rsquo;s attitude are altogether different stories that may ultimately prove conflictual. It could be due to the lack of clear signage and advertising of what the event is, or it could be the potential sense of being ambushed by video art while trying to find a ViaRail ticket booth.</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">This installment of Villa&mdash;it has previously taken place in Warsaw, Reykjavik, and Tokyo&mdash;continues to bring international art to the public for free&mdash;however, could its shortcomings compete with the ones of art fairs? On one hand, we have art fairs that are clear in their aims (and their ugly sides): come pay to look at art, and then pay more to buy it. Art is money and status, money is status and art. </span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">On the other hand, there is Villa that wants to bring art to the community in an innovative manner: its purpose is noble, socialist, and captivating. However, it may result, conversely, in an event that feels intrusive and alienating to its intended public.</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">&nbsp;</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">&mdash;<a href="http://www.artslant.com/global/artists/show/396844-yoli-yoanna-terziyska?tab=REVIEWS" target="_blank"><span style="text-align: left;">Yoanna Terziyska</span></a></span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;"><span style="text-align: left;">&nbsp;</span></span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: x-small;"><span style="text-align: left;">(Image at top:&nbsp;Michał Budny, Untitled, 2013, paper, adhesive tape, wax, varnish, wood, cardboard, 64 x 50 x 2,&nbsp;Courtesy of Raster, Warsaw)</span></span></p> <p style="line-height: 26px; text-align: justify;">&nbsp;</p> Mon, 19 Jan 2015 13:38:15 +0000 http://www.artslant.com/cn/Articles/list http://www.artslant.com/cn/Articles/list Justin Hammond Selects Top Recent Graduates at London Art Fair <div style="line-height: 26px; text-align: justify;"><em><span style="font-family: georgia, palatino; font-size: medium;">The <a href="http://www.artcatlin.com/en/" target="_blank">Catlin Prize and Guide</a> is one of London's primary art prizes for recent graduate artists. The guide launches in January each year at the London Art Fair&mdash;with the prize winners announced at an exhibition in May.&nbsp;</span><span style="font-family: georgia, palatino; font-size: medium;">Founder and Director, and former <a href="http://www.artslant.com/no/articles/show/8456" target="_blank">ArtSlant Prize</a> Juror, Justin Hammond, selects his favorite works from this year's edition, also on show at the London Art Fair 2015.&nbsp;</span></em></div> <div style="line-height: 26px; text-align: justify;"><em><span style="font-family: georgia, palatino; font-size: medium;">&nbsp;</span></em></div> <div style="line-height: 26px; text-align: center;"><em><span style="font-family: georgia, palatino; font-size: medium;"><img src="http://dbprng00ikc2j.cloudfront.net/userimages/101642/4cut/20150119091833-The_Catlin_Guide_2015_shot_2_low_res.jpg" alt="" /></span></em></div> <div style="line-height: 26px; text-align: center;"><span style="font-size: x-small; font-family: georgia, palatino;">The Catlin Guide 2015 &nbsp;</span></div> <div style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">&nbsp;</span></div> <div style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">We're back in Art Projects at the London Art Fair to mark the publication of&nbsp;<em>The Catlin Guide 2015</em>, a limited edition book showcasing 40 outstanding recent graduate and postgraduate artists from UK art schools. As well as making a small number of copies free to visitors on each day of the fair, we're also presenting a selection of work by featured artists. Here, I've picked out four works showing at stand P25.</span></div> <div style="line-height: 26px; text-align: justify;"> <div style="line-height: 26px; text-align: left;"><br /><span style="font-family: georgia, palatino; font-size: medium;"><strong><em>1. This is where the darkness lies</em></strong>&nbsp;(from the series&nbsp;<em>Under the Influence</em>), Dominic&nbsp;Hawgood&nbsp;</span></div> <div style="line-height: 26px; text-align: left;"><span style="font-family: georgia, palatino; font-size: medium;">(Royal College of Art, London)</span></div> </div> <div style="line-height: 26px; text-align: justify;"> <p style="line-height: 26px; text-align: center;"><span style="font-family: georgia, palatino; font-size: medium;"><img src="http://dbprng00ikc2j.cloudfront.net/userimages/101642/4cut/20150119071544-Dominic_Hawgood__This_is_where_the_darkness_lies__2014__SELF_ADHESIVE_FABRIC_VINYL_103cmx152cm.jpg" alt="" />&nbsp;</span></p> <p style="line-height: 26px; text-align: center;"><em style="font-family: georgia, palatino; font-size: x-small;">This&nbsp;is&nbsp;where&nbsp;the darkness lies</em><span style="font-family: georgia, palatino; font-size: x-small;">, 2014, Vinyl Giclee, 204x152 cm, Edition 5</span></p> </div> <div style="line-height: 26px; text-align: justify;">&nbsp;</div> <div style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;"><em>Under the Influence&nbsp;</em>delves into the masked rituals of contemporary Christianity&nbsp;embraced&nbsp;by churches in London's African community.&nbsp;Inspired by the experience of witnessing an exorcism, Dominic attended a&nbsp;succession&nbsp;of church&nbsp;meetings&nbsp;and sermons, where his motives were routinely&nbsp;challenged. Pastors were invariably skeptical, an attitude at odds with the very public promotion of deliverance. These&nbsp;highly-stylized images&nbsp;accentuate&nbsp;that contradiction, hinting at the merchandizing of these rituals and engaging in issues of authenticity.&nbsp;<em>Under The Influence</em>&nbsp;won Dominic the&nbsp;BJP International Photography Award and bagged him an upcoming solo show at&nbsp;TJ&nbsp;Boulting.</span></div> <div style="line-height: 26px; text-align: justify;"><br /><br /><br /><span style="font-family: georgia, palatino; font-size: medium;"><strong>2.</strong><em><strong> Slattenpatten</strong>,</em>&nbsp;Fanny Wickstr&ouml;m<em>&nbsp;</em>(The Glasgow School of Art)</span></div> <div style="line-height: 26px; text-align: justify;">&nbsp;</div> <div style="line-height: 26px;"><span style="font-family: georgia, palatino; font-size: medium;"><img style="display: block; margin-left: auto; margin-right: auto;" src="http://dbprng00ikc2j.cloudfront.net/userimages/101642/4cut/20150119071619-Fanny_Wickstorm_4._Slattenpatten.jpg" alt="" /></span></div> <div style="line-height: 26px; text-align: justify;"> <div style="line-height: 26px; text-align: center;"><span style="font-family: georgia, palatino; font-size: x-small;"><em>Slattenpatten,</em>&nbsp;2014, Chicken wire, papier mache, clay, acrylic, fake hair, 65x30x30 cm</span></div> </div> <div style="line-height: 26px; text-align: justify;">&nbsp;</div> <div style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">The annual trek up to Glasgow for the MFA show is usually a fruitful one. This year, three artists from the Glue Factory show made the book, including&nbsp;Fanny Wickstr&ouml;m, selected for her&nbsp;freakish trolls and sculptures like&nbsp;<em>No One on the Corner Has Swagger Like Us</em>&nbsp;(a scrotum dangling from a gigantic human ear). Fanny provided one of the more tangential interviews for the book.&nbsp;Here she is, talking about her approach to making art:<em>&nbsp;</em></span></div> <blockquote> <div style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">One of my friends had an undergraduate professor who once told her that if you are a woman you should never make small paintings. And if you do decide to make small paintings, god forbid, don't ever paint on board, it has to be canvas. Despite, or perhaps because of the silliness of this statement, I still sometimes think about it when I make sculptures. My work usually ends up being roughly the size that one person can produce and handle. It's probably due to a combination of lack of space, money and imagination. Perhaps being truly subversive would be making only miniatures, like detective Freamon from <em>The Wire</em>.</span><br /><br /></div> </blockquote> <div style="line-height: 26px; text-align: justify;"><br /><span style="font-family: georgia, palatino; font-size: medium;"><strong>3.</strong><em><strong> Doolaley</strong></em>, Nicholas Johnson&nbsp;(Royal College of Art, London)</span></div> <div style="line-height: 26px; text-align: justify;">&nbsp;</div> <div style="line-height: 26px;"><span style="font-family: georgia, palatino; font-size: medium;"><img style="display: block; margin-left: auto; margin-right: auto;" src="http://dbprng00ikc2j.cloudfront.net/userimages/101642/4cut/20150119071710-NicholasJohnson_Doolaley__1_.JPG" alt="" /></span></div> <div style="line-height: 26px; text-align: center;"><span style="font-family: georgia, palatino; font-size: x-small;"><em>Doolaley</em>,2014, Acrylic and pumice on canvas, 120x170 cm</span></div> <div style="line-height: 26px; text-align: justify;">&nbsp;</div> <div style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">&nbsp;</span></div> <div style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">Look closely and you'll spot the text crawling across the canvas. It's the title of the painting&mdash;an&nbsp;alternative&nbsp;spelling of "doolally"&mdash;meaning to be off your head<em>.&nbsp;</em>This is&nbsp;landscape painting as a&nbsp;reflection of an intense psychological state. It's also a nod to traditional&nbsp;pictorial modes of landscape&nbsp;painting: in this case a flattening out of the picture plane to create&nbsp;multi-tiered&nbsp;horizons. Get a little closer and you'll see a play on the title, "dew lolly." An ice lolly made of morning dew? Nicholas typically uses text as a trigger for surreal ideas, rather than&nbsp;a device for literal&nbsp;readings. If you get your skates on you can catch more of his densely-layered work in&nbsp;<em>A Crazed Flowering</em>&nbsp;at Frameless Gallery.</span><br /><br /><br /></div> <div style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;"><strong>4.</strong><em><strong> Let's Go Swimming</strong></em>, Oliver Hickmet (City &amp; Guilds of London Art School)</span></div> <div style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">&nbsp;</span></div> <div style="line-height: 26px;"><span style="font-family: georgia, palatino; font-size: medium;"><img style="display: block; margin-left: auto; margin-right: auto;" src="http://dbprng00ikc2j.cloudfront.net/userimages/101642/4cut/20150119071809-letsgoswimming__2_.jpg" alt="" /></span></div> <div style="line-height: 26px;"><span style="font-family: georgia, palatino; font-size: medium;">&nbsp;</span></div> <div style="line-height: 26px; text-align: center;"><span style="font-family: georgia, palatino; font-size: x-small;">&nbsp;</span><em style="font-family: georgia, palatino; font-size: x-small;">Let's Go Swimming,</em><span style="font-family: georgia, palatino; font-size: x-small;">&nbsp;2015, Photograph acid dyed on silk, acrylic, wooden stretcher, 112x80 cm</span></div> <p style="line-height: 26px; text-align: justify;">&nbsp;</p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">This is part of a series conceived during a two-month residency in Piedmont, Italy, where Oliver came to recognize how the history and culture of his temporary home had been commoditized and repackaged for touristic gratification. Using signifiers of leisure and comfort, the individual identities of places are decimated by homogenized online content. Destination concepts are displayed and sold like pic'n'mix in a sweet shop: familiar, tempting, and instantly available. Oliver's new works&nbsp;address this rampant rebranding. Found postcard images of the Dolomites are mottled with dirt and scanned to recreate scuzzy Kodak memories. Each image is then printed onto silk and draped over a candy-colored frame to present a reconstructed landscape, it's behavior dictated by the supporting structure.</span></p> <p style="line-height: 26px; text-align: justify;">&nbsp;</p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;"><em>&mdash;</em>Justin Hammond</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">&nbsp;</span></p> <div style="line-height: 26px; text-align: justify;"><em><span style="font-family: georgia, palatino; font-size: medium;">Justin Hammond is an independent curator, publisher and art dealer. In 2007 he devised the&nbsp;Catlin&nbsp;Art Prize, an annual showcase for outstanding new artists in the UK,&nbsp;described by&nbsp;</span></em><span style="font-family: georgia, palatino; font-size: medium;">The&nbsp;Independent</span><span style="font-family: georgia, palatino; font-size: medium;">&nbsp;</span><em><span style="font-family: georgia, palatino; font-size: medium;">as the&nbsp;Turner Prize&nbsp;for recent graduates.&nbsp;He later went on to compile&nbsp;</span></em><span style="font-family: georgia, palatino; font-size: medium;">The Catlin Guide</span><em><span style="font-family: georgia, palatino; font-size: medium;">,&nbsp;now recognized as&nbsp;an essential reference for collectors of contemporary art. In 2010 he published&nbsp;</span></em><span style="font-family: georgia, palatino; font-size: medium;">An Unspoken Arrangement</span><em><span style="font-family: georgia, palatino; font-size: medium;">&nbsp;to coincide with Alex Ball&rsquo;s debut solo exhibition and co-curated Mike Ballard's&nbsp;controversial&nbsp;</span></em><span style="font-family: georgia, palatino; font-size: medium;">Whose Coat is that Jacket You&rsquo;re Wearing?</span><em><span style="font-family: georgia, palatino; font-size: medium;">, held in a disused tailor&rsquo;s shop during&nbsp;Frieze. He continues to promote emerging artists, both in the UK and internationally.</span></em></div> <div style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: small;"><em>&nbsp;</em></span></div> <div style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: x-small;">&nbsp;</span></div> <div style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: x-small;">(Image at top: Catlin Guide 2015)</span></div> Wed, 21 Jan 2015 10:05:42 +0000 http://www.artslant.com/cn/Articles/list http://www.artslant.com/cn/Articles/list Hyper-Pluralities for a New Becoming: The Exhibited Body in Contemporary Art <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">&ldquo;The body is always a body that is an unfinished entity.&rdquo; </span></p> <p style="line-height: 26px; text-align: justify; padding-left: 150px;"><span style="font-family: georgia, palatino; font-size: medium;">&mdash;Lisa Blackman, </span><em style="font-family: georgia, palatino; font-size: medium;">The Body (Key Concepts), </em><span style="font-family: georgia, palatino; font-size: medium;">Berg, 2008</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">&nbsp;</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">&ldquo;We have a whole history of representation in which the black body was not the privileged body,&rdquo; <a href="http://www.artltdmag.com/index.php?subaction=showfull&amp;id=1342138040&amp;archive&amp;start_from&amp;ucat=28" target="_blank">Kerry James Marshall</a> said in an interview a few years ago. &ldquo;So there was no crisis of representation for me, because the black figure is underrepresented.&rdquo; Marshall has patiently, and masterfully installed black figurative paintings in predominantly white institutions for his entire career; this past fall he had a <a href="http://www.davidzwirner.com/exhibition/kerry-james-marshall-2/" target="_blank">solo show at David Zwirner Gallery</a> in London&mdash;what Culture Type <a href="http://www.culturetype.com/2014/10/15/london-calling-forget-frieze-kerry-james-marshall-is-exhibiting-at-david-zwirner/" target="_blank">hailed as one of six must-see exhibitions</a> during Frieze. He is not alone, however. The figure has been steadily inching its way back into popular focus, and not just any figure either&mdash;it&rsquo;s the plurality of figures that challenges a single ideal of what a body should be.</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">In 2014 Kara Walker&rsquo;s <em>A Subtlety: or the Marvelous Sugar Baby</em>&nbsp;drew some 130,000 viewers while installed at the now defunct Domino Sugar Factory in Brooklyn. Along with its installation came <a href="http://colorlines.com/archives/2014/06/kara_walkers_sugar_sphinx_evokes_call_from_black_women_we_are_here.html" target="_blank">a wave of controversy</a> inspired by the white public&rsquo;s tendency to take suggestive and derogative selfies beside the 30-ton sugar sphinx&rsquo;s vagina. (<a href="http://ccct.uchicago.edu/events/2014/9/29/on-kara-walkers-a-subtlety-or-the-marvelous-sugar-baby-with-glenda-carpio" target="_blank">A related lecture will take place this February at the Center for the Study of Gender and Sexuality at the University of Chicago</a>.) The body, and tension around racial identity in the US&nbsp;<a href="http://www.reuters.com/article/2014/08/29/us-usa-missouri-shooting-un-idUSKBN0GT1ZQ20140829" target="_blank">became an international priority</a> as multiple cases of the police brutality captured media attention. One response came by way of Claudia Rankine&rsquo;s 2014 book, <em><a href="https://www.graywolfpress.org/books/citizen" target="_blank">Citizen</a></em>. A&nbsp;finalist for the National Book Award, it carries an image of David Hammons&rsquo; <em>In the Hood </em>on its cover. &ldquo;Even as your own weight insists / you are here,&rdquo; Rankine writes, &ldquo;fighting off / the weight of nonexistence. // And still this life parts your lids, you see / you seeing your extended hand...&rdquo;</span></p> <p style="line-height: 26px;"><span style="font-family: georgia, palatino; font-size: medium;"><img style="display: block; margin-left: auto; margin-right: auto;" src="http://dbprng00ikc2j.cloudfront.net/userimages/32120/1dkh/20150116170537-Sattelites__site_.jpg" alt="" /></span></p> <p style="line-height: 26px; text-align: center;"><span style="font-size: x-small;"><span style="font-family: georgia, palatino;">Jacolby Satterwhite,&nbsp;<em>Satellites (site)</em>, 2014, C-print in artist's fram, 85 x 58 x 3 in</span><span style="font-family: georgia, palatino;">; Courtesy of the artist and OHWOW, Los Angeles</span></span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">&nbsp;</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">Historically marginalized figures challenge a tide of entrenched policies and networks that have alienated many in favor of a singular, coherent narrative, a single, coherent body. Wangechi Mutu&rsquo;s <a href="http://www.artslant.com/mia/articles/show/39868" target="_blank">tremendous traveling solo exhibition</a>, organized by the Nasher Museum, used fantasy and hybridity to celebrate the figure. Meanwhile Jacolby Satterwhite continued his own creative trajectory through multisexual transpersonal landscapes at OHWOW gallery in Los Angeles. <a href="http://oh-wow.com/exhibits/how-lovely-is-me-being-as-i-am/" target="_blank"><em>How Lovely Is Me Being As I Am</em></a> featured several C-Print photographs, sculptures, and a six-channel video from his <a href="http://jacolby.com/section/267514_Reifying_Desire.html" target="_blank"><em>Reifying Desire</em></a> series, in which the body becomes an intersection of material, digital, erotic, and personal forces. These bodies are not simply material or psychological, but rather complex assemblages with fluctuating interior and exterior bounds&mdash;like the skin itself, a porous membrane between inside and outside, acting as both boundary and passage. Or to quote Alexander G. Weheliye's&nbsp;<em><a href="https://www.dukeupress.edu/Habeas-Viscus/index-viewby=subject&amp;categoryid=27&amp;sort=newest.html" target="_blank">Habeas Viscus</a></em>&nbsp;(Duke Univeristy Press, 2014) "because to fully inhabit the flesh might lead to a different modality of existence."</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;"><img src="http://dbprng00ikc2j.cloudfront.net/userimages/32120/1dkh/20150116170625-ee88dtsang.jpg" alt="" /></span></p> <p style="line-height: 26px; text-align: center;"><span style="font-family: georgia, palatino; font-size: x-small;">Wu Tsang, <em>Mishima in Mexico</em>, 2012, Video still, Collection Museum of Contemporary Art Chicago, restricted gift of the Buddy Taub Foundation; &copy; 2012 Wu Tsang; Photo courtesy Michael Benevento, Los Angeles; Exhibited in&nbsp;<em>Body Doubles</em>, MCA Chicago</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">&nbsp;</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">Following suit, Chicago&rsquo;s MCA fills one half of its first floor with </span><a style="font-family: georgia, palatino; font-size: medium;" href="http://www2.mcachicago.org/exhibition/body-doubles/" target="_blank"><em>Body Doubles</em></a><em style="font-family: georgia, palatino; font-size: medium;">, </em><span style="font-family: georgia, palatino; font-size: medium;">an ongoing group show that &ldquo;recognizes that the body is not fixed, but is rather in a perpetual state of flux and transformation.&rdquo; Critic Matt Morris curated a related group show </span><a style="font-family: georgia, palatino; font-size: medium;" href="http://www.westernexhibitions.com/current/2014/8_Effeminaries/index.html"><em>Effeminaries</em></a><em style="font-family: georgia, palatino; font-size: medium;">,</em><span style="font-family: georgia, palatino; font-size: medium;"> at Western Exhibitions in the West Loop. Amid video, shirt paintings, a floor sculpture, and wonderful loose magazine pages of Joel Parsons' &ldquo;Crushes,&rdquo; are three Greg Ito paintings: nude, beige, and brown&mdash;minimalist except for two pieces of jewelry adorning each picture.</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;"><img src="http://dbprng00ikc2j.cloudfront.net/userimages/32120/1dkh/20150116170706-3_ito.jpg" alt="" /></span></p> <p style="line-height: 26px; text-align: center;"><span style="font-family: georgia, palatino; font-size: x-small;">Greg Ito, (from left to right)&nbsp;<em>the one that got away,</em>&nbsp;<em>as deep as out love,</em>&nbsp;<em>the comedown is real, </em>all three: 2014, acrylic, muslin, velour, jewelry, wood, 22 x 36 x 1 3/4 inches; Courtesy of the artist and Western Exhibitions, Chicago</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">&nbsp;</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">Revisiting her Creative Time installation in a different context, Kara Walker&rsquo;s current solo show at <a href="http://www.sikkemajenkinsco.com/?v=exhibition&amp;exhibition=541dae62e7bf5" target="_blank">Sikkema Jenkins</a> (aptly called <em>Afterword)</em> &ldquo;elaborates on the creation and aftermath of Kara Walker&rsquo;s monumental installation at the Domino Sugar Refinery in Williamsburg, Brooklyn this past summer.&rdquo; Through a small model and sketches of the Sugar Baby on paper, the larger-than-life figure from the summer is seen coming into existence by way of Walker&rsquo;s thinking hand.&nbsp;You see Walker working out and developing the Sugar Baby. The original molasses boy sculptures remain attendant, and a hand of the original sphinx sits on the gallery floor as well&mdash;like a relic from ancient times, one side shorn hard with marble-like ridges.</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;"><img src="http://dbprng00ikc2j.cloudfront.net/userimages/32120/1dkh/20150116171024-KW_EX-2014_SJC_06.jpg" alt="" /></span></p> <p style="line-height: 26px; text-align: center;"><span style="font-family: georgia, palatino; font-size: x-small;">Kara Walker, Installation view of <em>Afterword</em>, Sikkema Jenkins &amp; Co., New York, November 21, 2014 &ndash; January 17, 2015; All artwork &copy; Kara Walker; Photo: Jason Wyche; Courtesy of Sikkema Jenkins &amp; Co., New York</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">&nbsp;</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">At the New Museum,&nbsp;</span><a style="font-family: georgia, palatino; font-size: medium;" href="http://www.newmuseum.org/exhibitions/view/chris-ofili" target="_blank"><em>Night and Day</em></a><em style="font-family: georgia, palatino; font-size: medium;">,</em><span style="font-family: georgia, palatino; font-size: medium;">&nbsp;</span><span style="font-family: georgia, palatino; font-size: medium;">Chris Ofili&rsquo;s first major museum solo in the US, </span><span style="font-family: georgia, palatino; font-size: medium;">will be on view until February 1. According to the </span><a style="font-family: georgia, palatino; font-size: medium;" href="http://www.nytimes.com/2014/10/31/arts/design/chris-ofili-night-and-day-a-survey-at-the-new-museum.html?_r=0" target="_blank"><em>New York Times</em></a><em style="font-family: georgia, palatino; font-size: medium;">,</em><span style="font-family: georgia, palatino; font-size: medium;"> these &ldquo;paintings will not let us be.&rdquo; And thankfully so, for they trouble dominant cultural tendencies. Continuing into 2015 Wiels in Brussels features </span><a href="http://www.wiels.org/en/exhibitions/668/Body-Talk-Feminism-Sexuality-and-the-Body-in-the-Work-of-Six-African-Women-Artists" target="_blank"><em style="font-family: georgia, palatino; font-size: medium;">Body Talk: Feminism, Sexuality and the Body in the Work of Six African Woman Artists</em></a><span style="font-family: georgia, palatino; font-size: medium;">. In Austin, Texas, The Blanton Museum of Art is hosting </span><a style="font-family: georgia, palatino; font-size: medium;" href="http://blantonmuseum.org/exhibitions/details/witness_art_and_civil_rights_in_the_sixties" target="_blank">a traveling group show about the Civil Rights Movement</a><span style="font-family: georgia, palatino; font-size: medium;"> that opens this February. And reminding us again of the global conversation between international bodies, cultures, and policies, the Iranian-American artist, Shirin Neshat&rsquo;s solo exhibition, </span><a style="font-family: georgia, palatino; font-size: medium;" href="http://www.hirshhorn.si.edu/wp-content/themes/Hirshhorn_Mobile/exhibition05.php"><em>Facing History</em></a><em style="font-family: georgia, palatino; font-size: medium;">, </em><span style="font-family: georgia, palatino; font-size: medium;">opens at The Hirshhorn in D.C. this May.</span></p> <p style="line-height: 26px; text-align: center;"><span style="font-family: georgia, palatino; font-size: medium;"><img src="http://dbprng00ikc2j.cloudfront.net/userimages/32120/1dkh/20150116171642-1.BillieZangewa.jpg" alt="" /></span></p> <p style="line-height: 26px; text-align: center;"><span style="font-size: x-small;"><span style="font-family: georgia, palatino;">Billie Zangewa, <em>The Rebirth of the Black Venus</em>, 2010, Silk tapestry, 127 x 130 cm,&nbsp;</span><span style="font-family: georgia, palatino;">Private collection; Exhibited in&nbsp;<em>Body Talk</em></span><span style="font-family: georgia, palatino;">, Wiels, Brussels</span></span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">&nbsp;</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">A friend recently asked why art wasn&rsquo;t more politically engaged. I feel it is. More unblinking and fearless and calm than ever. These works come from a calculated, and wonderfully dangerous place. A place of love and ferocity, carving out as they do a platform upon which &ldquo;you see / you seeing your extended hand.&rdquo;</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">&nbsp;</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">&mdash;<a href="http://www.artslant.com/global/artists/show/155816-caroline-picard?tab=REVIEWS">Caroline Picard</a></span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">&nbsp;</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: x-small;">(Image at top: Barkley L. Hendricks, 
<em>Lawdy Mama, </em>1969
, Oil and gold leaf on canvas, 
53 3/4 x 36 1/4 in; 
The Studio Museum in Harlem, Gift of Stuart Liebman, in memory of Joseph B. Liebman, 83.25; &copy; Barkley L. Hendricks; Photo: Courtesy of the artist and Jack Shainman Gallery, New York; Exhibited in <em>Witness: Art and Civil Rights in the Sixties</em> at the Blanton Museum of Art, Texas)</span></p> Sat, 17 Jan 2015 10:03:46 +0000 http://www.artslant.com/cn/Articles/list http://www.artslant.com/cn/Articles/list Needle in Haystack Found: The Story of an Artwork Lost at Sea <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">When Lotte Geeven released two floating robots into opposite sides of the Atlantic last fall, she questioned the probability of them meeting within such a tremendous space and hoped to learn about the ocean by following their paths. &ldquo;The moment the two robots touch the water,&rdquo; she wrote, &ldquo;the project's outcome is entirely ruled by the forces of nature.&rdquo;</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">Four months into the project, what she&rsquo;s learned instead, and perhaps knew all along, is that oceans will do what they want&mdash;and so will humans. On top of the vicissitudes of ocean currents, Geeven can now add the denizens of a sleepy North African port town to her artwork&rsquo;s improbable story.</span></p> <p style="line-height: 26px; text-align: justify;"><img src="http://dbprng00ikc2j.cloudfront.net/userimages/32120/1dkh/20150116104839-Screen_Shot_2015-01-16_at_11.48.21_AM.png" alt="" /></p> <p style="line-height: 26px; text-align: center;"><span style="font-family: georgia, palatino; font-size: medium;"><span style="font-size: x-small;"><em><a href="http://127109and127110.com/" target="_blank">127109 &amp; 127110</a></em>&nbsp;project website</span><br /></span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">I <a href="http://www.artslant.com/ams/articles/show/40889">reported on <em>127109 &amp; 127110</em></a> last September, when Geeven released the eponymous sensory robots&mdash;spherical buoy-like objects with submerged GPS sensors&mdash;into the Gulf Stream and Canary Current, some 7,000km apart. Collaborating with oceanographers from four marine institutes, Geeven chose the times and locations of their deployment to give her robots the best possible chance of reuniting in a year&rsquo;s time in the center of the Atlantic, carried passively by the opposing currents.</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">Anyone who&rsquo;s been tracking the robots in real time on the <a href="http://127109and127110.com/">project website</a> will have a sense of the epic scope&mdash;and the seeming futility&mdash;of this challenge. Traveling hundreds of miles, though very much still near their respective coasts, 127109 and 127110 have been thrown off course by tropical storms, dragged in mysterious and short-lived straight lines, and stuck twirling in a Bermuda Triangle holding pattern. Nevertheless, they were generally making progress until December, when 127109 was pulled in a direct line off the coast of Morocco into the small port town of Asilah, about 31 km from Tangier.</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;"><img src="http://dbprng00ikc2j.cloudfront.net/userimages/32120/1dkh/20150116105353-Screen_Shot_2015-01-07_at_8.03.23_AM.png" alt="" /></span></p> <p style="line-height: 26px; text-align: center;"><span style="font-family: georgia, palatino; font-size: x-small;">Asilah</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">Geeven was in Chongqing, China, working on a related project when she realized, to her horror, that 127109 was headed aground. She made immediate plans to travel to Morocco with filmmaker Heidi Vogels to learn what happened and hopefully recover the missing art object.</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">Easier said than done. 127109 is equipped with GPS sensors&mdash;a dream for anyone with a target gone AWOL&mdash;but four days before Geeven and Vogels&rsquo; arrival, the signal went dead. 127109 was truly lost. It might have been destroyed, dismantled, or&mdash;best-case scenario&mdash;perhaps it had been stationary long enough that it had simply gone into standby mode.</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;"><img src="http://dbprng00ikc2j.cloudfront.net/userimages/32120/1dkh/20150116105429-Screen_Shot_2015-01-12_at_6.17.06_PM.png" alt="" /></span></p> <p style="line-height: 26px; text-align: center;"><span style="font-family: georgia, palatino; font-size: x-small;">The fisherman / lucky finder with 127109</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">What they ultimately found, after three days of inquiries, disheartening speculation, and evasive answers, was the story of a local fisherman. He&rsquo;d had an unproductive day at sea and was about to head home when his radar detected something. He discovered what looked like a buoy and beneath it, thrashing around in the net of the sensory devices, were dozens of fish. The &ldquo;buoy&rdquo; returned to shore with him, where it disappeared.</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">What did he and the people of Asilah think of the project in which they&rsquo;d unwittingly picked up supporting roles? Receptive, it seems: Geeven&rsquo;s luck in finding 127109 changed only once they'd understood it as an artwork. Language was a huge barrier; initially people thought she represented a foreign scientific agency, and she made little progress with Asilah residents and local authorities. Then she remembered a French translation of a press release she had describing the artwork. When she handed it over to the police chief to clarify her mission he was touched by the artwork&rsquo;s gesture&mdash;<em>mais c'est magnifique&hellip; c'est poetry!</em>&mdash;and the possibility of the robots&rsquo; reunion. He wasn&rsquo;t the only one: the fisherman who found 127109 had initially hidden it and was reluctant to come forward, but he ultimately understood the project, telling Geeven it was the will of Allah that he had found it and could return it to her.</span></p> <p style="line-height: 26px; text-align: justify;"><img src="http://dbprng00ikc2j.cloudfront.net/userimages/32120/1dkh/20150116105930-verschijnt_bij_politie_bureau_2.jpg" alt="" /></p> <p style="line-height: 26px; text-align: center;"><span style="font-family: georgia, palatino; font-size: x-small;">Geeven with the found 127109 outside of the police bureau</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">Around the time the robots were deployed Geeven said, &ldquo;I am interested in the chance of an encounter, but also in a possible failure.&rdquo; What does this terrestrial detour mean for an ostensibly ocean-based artwork? &ldquo;The abstraction of the journey has been broken by an epic intervention,&rdquo; she says, and this &ldquo;changes everything.&rdquo; <em>127109 &amp; 127110</em> started with humans as mere observers, but &ldquo;suddenly&nbsp;it was&nbsp;personal and I&nbsp;was&nbsp;part&nbsp;of a work.&nbsp;Literally.&rdquo;</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">Geeven&rsquo;s work <a href="http://www.artslant.com/ams/articles/show/15225">has always dealt with mapping</a>, storytelling, the blending of subjectivity, fact, and fiction. &ldquo;Creating a&nbsp;work,&rdquo; she says, &ldquo;for me is like&nbsp;writing&nbsp;fiction&nbsp;in reality.&rdquo; Asilah became a sort of improvisational theatre onto which the story of 127109 played out, its occupants the unsuspecting cast in this staged reality. The fisherman&rsquo;s story about how he found the artwork was fantastical and absurd &ldquo;but I choose to believe him.&nbsp;Just like me he is a storyteller; I came all the way to Asilah to meet another storyteller.&rdquo;</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;"><img src="http://dbprng00ikc2j.cloudfront.net/userimages/32120/1dkh/20150116105728-vissers_vanaf_de_zee.jpg" alt="" /></span></p> <p style="line-height: 26px; text-align: center;"><span style="font-family: georgia, palatino; font-size: x-small;">Fishermen in Asilah</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">The errant robot&rsquo;s diversion raises a lot of questions, many at the intersection of art and science. &ldquo;Is there coincidence? Is there such a thing as destiny?&rdquo; Geeven asks. Are the odds any greater that the two robots meet in the middle of the ocean, or that a lone fisherman comes across one of them and brings it ashore? What does this intervention say about the autonomy of &ldquo;nature&rdquo; in <a href="http://www.artslant.com/ew/articles/show/41699" target="_blank">an epoch</a> in which humans have <a href="http://www.nytimes.com/2015/01/16/science/earth/study-raises-alarm-for-health-of-ocean-life.html">an ever-increasing effect on the natural world</a>?</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">Geeven plans to make an art documentary with this, and other footage from the duration of the project. 127109&rsquo;s journey doesn&rsquo;t end here. An American research vessel will be stopping by Asilah to pick it up and place it back on track&mdash;with lots of new followers, keenly watching its progress across the Atlantic. In the course of its wayward travels 127109&mdash;once an agent for visualizing the force of nature&mdash;has become &ldquo;almost mythical. It&nbsp;now&nbsp;has a place&nbsp;in the collective consciousness&nbsp;of a Moroccan&nbsp;harbor city.&rdquo;</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;"><img src="http://dbprng00ikc2j.cloudfront.net/userimages/32120/1dkh/20150116110146-Screen_Shot_2015-01-14_at_5.58.52_PM.png" alt="" /><img src="http://dbprng00ikc2j.cloudfront.net/userimages/32120/1dkh/20150116115011-Screen_Shot_2015-01-14_at_6.06.26_PM.png" alt="" /><img src="http://dbprng00ikc2j.cloudfront.net/userimages/32120/1dkh/20150116114831-Screen_Shot_2015-01-12_at_1.32.43_PM.png" alt="" /></span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;"><img src="http://dbprng00ikc2j.cloudfront.net/userimages/32120/1dkh/20150116114917-Screen_Shot_2015-01-14_at_6.11.13_PM.png" alt="" /></span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">&nbsp;</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">&mdash;<a href="http://www.artslant.com/global/artists/show/95201-andrea-alessi?tab=REVIEWS" target="_blank">Andrea Alessi</a></span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">&nbsp;</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: small;">(Image at top: Asilah fishermen with 127109; All photographs: Heidi Vogels; Courtesy of Lotte Geeven and Heidi Vogels)</span></p> Tue, 20 Jan 2015 16:39:04 +0000 http://www.artslant.com/cn/Articles/list http://www.artslant.com/cn/Articles/list LA Continues Growth as an Art Fair Destination in 2015 <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;"><em><a href="http://www.artweekendla.com/" target="_blank">Art Weekend LA</a> kicked off yesterday with the promise of a Los Angeles art calendar packed with attractions: from the dynamic program of museum exhibitions and gallery openings to the city&rsquo;s growing number of art fairs. The latter set a quick pace from the outset and this January boasts a busy schedule, beginning with the LA Art Show and Photo LA, two of the city&rsquo;s longest-running fairs, and closing with the comparatively new yet highly influential </em><em>Art Los Angeles Contemporary. In anticipation of this gala start to the year, ArtSlant takes a brief look at these keystones of the LA art scene.</em></span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;"><em>&nbsp;</em></span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">This year the <a href="http://www.artslant.com/la/events/show/370513-20th-anniversary-la-art-show" target="_blank">LA Art Show</a> celebrates its 20th anniversary. The growth of the event is testament both to its popularity and to the wider, most remarkable progression of the Los Angeles art market. Launched in 1994 as an admittedly &ldquo;small regional event featuring 14 galleries,&rdquo; the fair now presents over 22,000 artworks from more than 120 galleries spanning 22 countries.</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">The LA Art Show welcomes high-profile collectors such as Eli Broad and Leonardo DiCaprio, and reaches a considerable audience: last year the fair welcomed 56,000 visitors through its doors. To put this in context, Frieze London, one of the world&rsquo;s most influential art fairs, has marked attendance of 60,000 each of the last four years. The show has outgrown three venues in its lifetime and as a longstanding fixture of the art scene it can be seen as something of a destination-maker. After seven years of putting the Barker Hangar at Santa Monica Airport on the map as a leading venue, the LA Art Show made a pioneering move to Downtown in 2009 where it has been a key contributor to the district&rsquo;s revival.</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;"><img src="http://dbprng00ikc2j.cloudfront.net/userimages/32120/1dkh/20150115150737-Zeinab_Al_Hashemi_Pearl_Tale__2010_Scanograph_Courtesy_of_the_artist.jpg" alt="" /><br /></span></p> <p style="line-height: 26px; text-align: center;"><span style="font-family: georgia, palatino; font-size: x-small;">Zeinab Al Hashemi, <em>Pearl Tale</em>, 2010, Scanograph; At LA Art Show / Courtesy of the artist</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">&nbsp;</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">From the outset the LA Art Show has had a decidedly international focus, and has maintained a strategic drive to represent diverse art genres, including &ldquo;modern, contemporary, historic and traditional works, as well as works on paper, sculpture and installations.&rdquo; &nbsp;On the occasion of the fair&rsquo;s 20th anniversary, the fair&rsquo;s Producer Kim Martindale identifies an &ldquo;opportunity to look back on all of our accomplishments and the success we have amassed. Having a strong understanding of where we have been will help us chart out our next steps and direct how we want to grow in the future.&rdquo;</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">The growing international representation of the fair is in evidence with a strong contingent of galleries from throughout Asia, including ME Art Gallery, Duke Art Gallery, CM2 Space, Neu Art Gallery, Coco (Mingjia) Art Gallery, Trustwin Art Gallery, and Impressions Oriental. The Embassy of the United Arab Emirates will also curate a special exhibition <em>Past Forward: Contemporary Art from the Emirates</em>, which will showcase the work of 13 of the country's leading contemporary artists and form the primary phase of the first major touring exhibition of Emirati art in the world.</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;"><img src="http://dbprng00ikc2j.cloudfront.net/userimages/32120/1dkh/20150115151029-Opie_Untitled_9.jpg" alt="" /></span></p> <p style="line-height: 26px; text-align: center;"><span style="font-family: georgia, palatino; font-size: x-small;">Catherine Opie, <em>Untitled #9</em>, 2013; At Photo LA / &copy;Catherine Opie, Courtesy of Regen Projects Los Angeles</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">&nbsp;</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">Running concurrent to the LA Art Show is </span><a style="font-family: georgia, palatino; font-size: medium;" href="http://www.artslant.com/la/events/show/369664-the-24th-annual-international-los-angeles-photographic-art-exposition" target="_blank">Photo LA</a><span style="font-family: georgia, palatino; font-size: medium;">, which, now in its 24th year, is another of the city&rsquo;s most established fairs. Showcasing everything from classic 19th century photography to contemporary photo-based art, Photo LA brings together leading galleries, museums,&nbsp;universities, and non-profit organizations from Europe, Asia, Australia, and&nbsp;North America, and offers a diverse program of tours and talks by&nbsp;renowned figures in the field, such as Weston Naef, curator emeritus of the J. Paul Getty&nbsp;Department of&nbsp;Photographs, and artists Mona Kuhn and Brian Bowen Smith. The fair&rsquo;s focus on the next generation assures a strong offering of expert-led content on technical elements of the field, and on practical aspects of the industry. This year, Photo LA honors Catherine Opie, and the opening gala will celebrate her lifelong contributions to the arts.</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;"><img src="http://dbprng00ikc2j.cloudfront.net/userimages/32120/1dkh/20150115151400-Tahara_In_Between.jpg" alt="" /></span></p> <p style="line-height: 26px; text-align: center;"><span style="font-family: georgia, palatino; font-size: x-small;">Keiichi Tahara, <em>In Between</em>; At Photo LA / Courtesy of amanasalto</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">&nbsp;</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">An LA native and art world veteran with experience working with Gagosian Gallery, Stephen Cohen gallery and others, the Director of Photo LA, Claudia James Bartlett, has experienced the growth in the LA art market firsthand. &ldquo;Photo LA started with humble beginnings and has grown over the years. It started as a showcase for classic photo dealers to display wares and sell. Now Photo LA is very much a hybrid of what an art fair is. Because we are about a process, about a medium, rather than showcasing a range of different styles and media, we really bring together a community of photography and art. We strive to present what&rsquo;s happening now and to foster new talent, a younger generation.&rdquo;</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;"><img src="http://dbprng00ikc2j.cloudfront.net/userimages/32120/1dkh/20150115151440-ALAC-019-susannevielmetterlosangelesprojects-raffikalenderian.jpg" alt="" /></span></p> <p style="line-height: 26px; text-align: center;"><span style="font-family: georgia, palatino; font-size: x-small;">Raffi Kalenderian,&nbsp;<em>Dasha "Plants"</em>, 2014, Oil on canvas; At Art LA Contemporary / Courtesy of Susanne Vielmetter Los Angeles Projects, Photo: Robert Wedemeyer</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">&nbsp;</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">At the end of January, from the 29th of the month to February 1, <a href="http://www.artslant.com/la/events/show/368760-art-los-angeles-contemporary-2015" target="_blank">Art Los Angeles Contemporary</a> takes over. Billed as &ldquo;the international contemporary art fair of the West Coast,&rdquo; ALAC has an exclusive focus on the contemporary, but throws its net wide, balancing both blue chip and emerging galleries, and representing international exhibitors whilst retaining a strong focus on LA-based organizations. Now in its sixth year, the fair takes place at the Barker Hangar, with its 40,000 square feet and soaring ceilings, where influential artists, critics, curators, and collectors alike can appreciate the rich array of contemporary art as well as a comprehensive programme of artist talks, curator tours, and panel discussions.</span></p> <p style="line-height: 26px; text-align: center;"><span style="font-family: georgia, palatino; font-size: medium;"><img src="http://dbprng00ikc2j.cloudfront.net/userimages/32120/1dkh/20150115151516-20140129005353-2013-07-11_11.50.08.jpg" alt="" /></span></p> <p style="line-height: 26px; text-align: center;"><span style="font-family: georgia, palatino; font-size: x-small;">Paramount Ranch</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">&nbsp;</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">In addition to these three major fine art fairs, January also sees specialist offerings in the fields of antiques, jewelry, design, and <a href="http://www.artslant.com/la/events/show/370519-printed-matters-la-art-book-fair" target="_blank">artist books</a>, as well as the independent newcomer, <a href="http://www.artslant.com/la/events/show/370517-paramount-ranch" target="_blank">Paramount Ranch</a>. Launched in 2014, the festival takes place on the 2,700 acre Western film set in the Malibu hills once owned by Paramount Studios, and provides an alternative take on the contemporary art fair. (You can check out our 2014 interview with the Paramount Ranch founders <a href="http://www.artslant.com/la/articles/show/38167" target="_blank">here</a>.)</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">As 2015 progresses we can look forward to the Los Angeles Modernism Show in April and the third edition of <a href="http://www.artslant.com/la/events/show/370523-paris-photo-los-angeles" target="_blank">Paris Photo LA</a> in May. In early 2016 FIAC LA launches after a year delay intended to &ldquo;provide both organizers and galleries sufficient time for optimal preparation.&rdquo;</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">The longevity of fairs such as Photo LA and the LA Art Show prove that LA&rsquo;s seemingly overnight transition into a contemporary art hub is in fact a long time in the making. The arrival of international art fairs such as FIAC and Paris Photo indicates great confidence in what is to come next, as does the increased participation by galleries from abroad.</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;"><strong>&nbsp;</strong></span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;"><strong>LA Art Show </strong></span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">January 14&ndash;18, 2015</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">Los Angeles Convention Center</span><br /><span style="font-family: georgia, palatino; font-size: medium;"> 1201 South Figueroa Street</span><br /><span style="font-family: georgia, palatino; font-size: medium;"> South Hall J &amp; K</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">Opening Night Premiere Party, January 14, 8&ndash;11pm&nbsp;</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;"><a href="http://www.laartshow.com/" target="_blank">http://www.laartshow.com/</a></span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">&nbsp;</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;"><strong>Photo LA</strong></span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">The REEF/LA Mart, 1933 South&nbsp;Broadway</span><br /><span style="font-family: georgia, palatino; font-size: medium;">January 16&ndash;18, 2015</span><br /><span style="font-family: georgia, palatino; font-size: medium;"> Opening Benefit Gala on January 15, 7&ndash;10pm</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;"><a href="http://www.photola.com/" target="_blank">http://www.photola.com/</a></span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">&nbsp;</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;"><strong>Los Angeles Jewelry, Antiques, Design </strong></span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">January&nbsp;</span><span style="font-family: georgia, palatino; font-size: medium;">14&ndash;18,</span><span style="font-family: georgia, palatino; font-size: medium;">&nbsp;</span><span style="font-family: georgia, palatino; font-size: medium;">2015</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;"><a href="http://www.lawintershow.com/" target="_blank">http://www.lawintershow.com/</a></span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">&nbsp;</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;"><strong>Art Los Angeles Contemporary</strong></span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">January 29&ndash;February 1</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">Barker Hangar</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;"><a href="http://artlosangelesfair.com/" target="_blank">http://artlosangelesfair.com/</a></span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">&nbsp;</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;"><strong>LA Art Book Fair </strong></span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">January 30&ndash;February 1, 2015</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">MOCA Geffen Contemporary</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">152 N. Central Ave.<br />Los Angeles, CA&nbsp;90013&nbsp;</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;"><a href="http://laartbookfair.net/" target="_blank">http://laartbookfair.net/</a></span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">&nbsp;</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;"><strong>Paris Photo | LA</strong></span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">May 1&ndash;3, 2015</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">Paramount Picture Studios</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;"><a href="http://www.parisphoto.com/losangeles" target="_blank">http://www.parisphoto.com/losangeles</a></span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">&nbsp;</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;"><strong>FIAC Los Angeles</strong></span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">Scheduled to launch 2016</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;"><a href="http://www.fiac.com/losangeles" target="_blank">http://www.fiac.com/losangeles</a></span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">&nbsp;</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">&nbsp;</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">&mdash;Antonia Ward</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">&nbsp;</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: x-small;">(Image at top: Guo Jijian, <em>God of War-4</em>; At LA Art Show / Courtesy of CM2 Space)</span></p> Thu, 15 Jan 2015 19:10:20 +0000 http://www.artslant.com/cn/Articles/list http://www.artslant.com/cn/Articles/list Călin Dan on His Visions for Romania's Contemporary Art Museum <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">At the start of 2015 Călin Dan, art historian and artist in the duo subReal, was hired as director of Romania's <a href="http://www.mnac.ro/" target="_blank">National Museum of Contemporary Art</a> (MNAC), following the death of the museum&rsquo;s founding director, Mihai Oroveanu, by heart attack in August 2013.</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">MNAC opened in 2004 in one wing of the largest administrative building in the world, built at great human sacrifice by Romania&rsquo;s former dictator Ceaușescu&nbsp;as his own palace.&nbsp;Before the fall of communism the building was called the House of the People, and now it is the House of Parliament, seat of the Romanian government. MNAC opened here to great debate and protestation from many vocal members of the art community, who considered the site and the proximity to the organs of power a great compromise to the integrity of contemporary art in the country, and a symbol of submission. But as the building was left mostly unused and rent was free, Oroveanu, who had brokered the deal for the establishment of the new institution with some members of government, went forward with its placement in a building that for so many represented the worst years of the communist dictatorship.&nbsp;In Fall of 2014, an open call was announced for exhibition proposals from artists and independent curators, for the museum's three large floors and its auxiliary spaces in the center of Bucharest, raising concerns from some about the curatorial vision.</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">In the 1990s, Dan was director of the Soros Center for Contemporary Art before moving to the Netherlands where he remained until recently.&nbsp;A large <a href="http://cimam.org/exhibition/3443/" target="_blank">retrospective of subReal</a> was staged at MNAC in 2012. I had the chance to speak with Dan about his directorial vision for the museum and the future of the institution in the context of the euphoria of the Romanian election, which resulted in the unexpected election of Klaus Iohannis, seen as a major change&nbsp;from the corrupt former president, Victor Ponta. This atmosphere of hope and renewal is also reflected in the art community's wish for Dan to bring radical changes to a museum that is still seen by some as compromised.</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;"><img src="http://dbprng00ikc2j.cloudfront.net/userimages/32120/1dkh/20150115115926-IMG_0082.JPG" alt="" /></span></p> <p style="line-height: 26px; text-align: center;"><span style="font-family: georgia, palatino; font-size: x-small;">Entrance to MNAC, Vernissage November 27, 2014</span></p> <hr /> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">&nbsp;</span></p> <p style="line-height: 26px; text-align: justify;"><strong style="font-family: georgia, palatino; font-size: medium;"><em>Olga Stefan: MNAC is still a very contested space. Why do you think that is?&nbsp;What is the museum's history?</em></strong></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;"><strong>Călin Dan:</strong> I have to differ: MNAC is not a &ldquo;very contested space,&rdquo; certainly not by the thousands of visitors it receives every month; not by the people, mostly very young, that attended our grand re-opening from November 27 in large numbers (over 4,000 by our survey); not by the curators, art critics, artists, cultural managers from Romania and internationally who are visiting us and seeking our collaboration.</span><span style="font-family: georgia, palatino; font-size: medium;">&nbsp;</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">MNAC has a complex history, like most institutions in post-December 1989 Romania. It took over infrastructures and patrimonial goods from the cultural institutions of the communist dictatorship period; moreover, it has been placed from its inception in a problematic location, namely the Palace of the Parliament, formerly known as the Palace of Ceaușescu. In the beginning of the years 2000 there has been a heated debate around this choice of location, and rightly so. The pragmatic attitude of former director Mihai Oroveanu prevailed, and the political decision of installing MNAC where it functions now was implemented eventually.</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">There still is a small group of contesters who made MNAC the hobbyhorse of a ranting against the brutal history of the building, an attitude that I find unwise and hypocrital. Unwise, because it translates the focus from a thorough debate about the Palace of Ceaușescu&mdash;about the political and economic processes that made it real&mdash;to an institution which has been hosted, a decade after the political changes, in a segment of its premises. Hypocritical, because it is precisely the task of the polemicists, as members of the civil society, to stimulate the debate and the analysis of the whole building, of the ways by which it was implemented in the urban tissues, and of the historical consequences of this act. MNAC has been and will continue to be interested in any project that addresses the problematic history of the building where the museum has one of its venues; so, we are eagerly waiting proposals of exhibitions, performances, spatial and public interventions, colloquia etc. that will deal with the heavy history of the Palace.</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;"><strong><em>OS: The first director of the museum, who was also its founder, Mihai Oroveanu, died last year.&nbsp;How do you position yourself vis-a-vis this legacy?&nbsp;</em></strong></span></p> <p style="line-height: 26px; text-align: justify;"><strong style="font-family: georgia, palatino; font-size: medium;">CD:</strong><span style="font-family: georgia, palatino; font-size: medium;"> We are now in a totally different situation than in 2001, when MNAC was created. Through various developments, and for the first time in modern history, visual culture becomes central to the Romanian society, and visual arts are setting the tone of the public discourse. I am not sure what &ldquo;legacy&rdquo; means in this new context. I am operating with the institutional tools and within the infrastructures at my disposal. They are mostly inherited, and they will be adjusted according to the priorities of my management plan. This plan is focusing on the ways through which MNAC will become a central player of the Romanian cultural scene in the following years, while expanding strategically its connections in the region.</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;"><img src="http://dbprng00ikc2j.cloudfront.net/userimages/32120/1dkh/20150115120141-IMG_0237.JPG" alt="" /></span></p> <p style="line-height: 26px; text-align: center;"><span style="font-family: georgia, palatino; font-size: x-small;">Installation view of<em> Dispositions in Time and Space</em>, 2014&ndash;2015, Exhibition generated by the Mobile Bienniale 1, Curator: Adrian Bojenoiu; Courtesy of MNAC &ndash; Muzeul Național de Artă Contemporană, București</span></p> <p style="line-height: 26px; text-align: center;"><span style="font-family: georgia, palatino; font-size: x-small;">&nbsp;</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;"><strong><em>OS: What is the current situation of the museum? What are the challenges and obstacles that it faces?</em></strong></span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;"><strong>CD:</strong> MNAC is confronted with the same challenges as any cultural institution of the 21st century: decrease in state financing, competition for attention, pressure from the commercial art market, inflation of art production. Next to those, there are specific challenges, namely the readjustment of the public image according to our policies; the streamlining and predictability of our program; the difficult public access to our main venue from the Palace of the Parliament; the rigid legal and budgetary frames where we operate.</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;"><strong><em>OS: What is your vision for the museum and how do you plan on implementing this vision considering the socio-political context, and the challenges and obstacles mentioned above?</em></strong></span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;"><strong>CD: </strong>MNAC operates from three venues: the main one in the Palace of the Parliament, where we are hosting the collections, and where an important space is dedicated to the long-term (so called permanent) exhibitions. Those exhibitions will be focusing every time on a specific theme significant to the local post WW2 art history. We consider the ground floor space (the so called Marble Room) as the iconic space of the venue, where the initial intentions of Ceaușescu&rsquo;s architects were preserved by the renovation in a post-modern, ironic way. Those two rooms have a great appeal for international artists, and we will strive to host site-specific installations or exhibitions carved for the space. The other three floors will be opened for various projects generated in-house or co-produced with outside collaborators. The venue in Calea Moșilor will be a beehive of different programs and initiatives from young curators, artists, architects, performers, hosted in a 1930s, seven story, former warehouse situated in the hottest, up-and-coming area of the city.</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">The Dalles Hall, situated in another top location of the city&rsquo;s historical center, will be transformed into the flag carrier of the MNAC programs, with a focus on the international positioning of the visual cultures of Romania.</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">Implementation of those strategic lines depends on the financial and logistic support from the Ministry of Culture, and also on our ability to gather support from the business environment, and&mdash;why not?&mdash;from the concerned communities of artists and specialists.</span></p> <p style="line-height: 26px; text-align: center;"><span style="font-family: georgia, palatino; font-size: medium;"><img src="http://dbprng00ikc2j.cloudfront.net/userimages/32120/1dkh/20150115120233-MNAC-BUCHAREST_Draculaland-1992-_-subREAL-Calin-Dan-Iosif-Kir_ly-Dan-Mihaltianu.jpg" alt="" /></span></p> <p style="line-height: 26px; text-align: center;"><span style="font-family: georgia, palatino; font-size: x-small;">subREAL, <em>Draculaland</em>, 1992, &copy; subREAL (Călin Dan, Iosif Kir&aacute;ly, Dan Mihaltianu)</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">&nbsp;</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;"><strong><em>OS: As an artist you were&nbsp;part of one of the most important art collectives to operate in Romania post-89: subREAL. It influenced that entire generation of artists with work criticizing the system, institutions, and politics.&nbsp;subREAL had a large retrospective two years ago in MNAC. As the director of an institution that is located in the House of Parliament and in front of the largest orthodox church to be built in the country&mdash;between the two major symbols of power (a reality that you acknowledged with a piece made for your retrospective)&mdash;how do you see your role as director of MNAC and how do you plan on maintaining your independence? Do you feel that the space of the museum can remain in its present location?</em></strong></span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;"><strong>CD:</strong> I never had a feeling that the independence of MNAC has been under threat due to its special location. My old friend and colleague Mihai Oroveanu was an extremely discrete person, who saw his role mostly as an unconditional protector of the events hosted by MNAC; but still I think he would have informed me if the two exhibitions that involved me and that were critical to the location of MNAC (<em>Anturaju&rsquo; and Other Stories</em>, my solo show from 2010; <em>subREAL Retrospect</em>, the one you mentioned, from 2012) would have raised questions in the power circles.</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">As for moving a institution of the size of MNAC to another location&mdash;this is a discussion involving many agencies, and it definitely goes beyond the frame of this interview.</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;"><img src="http://dbprng00ikc2j.cloudfront.net/userimages/32120/1dkh/20150115120319-IMG_0311.JPG" alt="" /></span></p> <p style="line-height: 26px; text-align: center;"><span style="font-family: georgia, palatino; font-size: x-small;">Installation view of <em>What About Y(our) Memory</em>, 2014&ndash;2015, Curator: Irina Cios, Iosif Kir&aacute;ly, Architect: Attila Kim</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">&nbsp;</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;"><strong><em>OS: How will you balance your interests as artist and your role as director in the selection of exhibitions produced or shown at the museum?&nbsp; How will curatorial decisions be made to limit conflicts of interest?</em></strong></span><span style="font-family: georgia, palatino; font-size: medium;">&nbsp;</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;"><strong>CD:</strong> Chronologically, before being an artist I have been a full time art critic, art historian, and curator. Over 30 years experience in those fields helps me make informed choices as manager of MNAC. Besides, the curatorial decisions in the museum are and will be the result of negotiations with colleagues and with representative actors from the art scene.&nbsp;</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">As far as the conflicts of interest are concerned, the only possible conflict would be to start promoting my artistic activities in the institution&mdash;which is unthinkable. Other than that, I will be as objective and also as subjective as any other person who uses historical, cultural, and taste instruments in order to draw a cultural strategy from the leading position in an institution. The fact that I am an artist should not and could not make me less free than any other colleague curator, critic, historian, in my judgments and also in my choices for the museum. My strategic vision for the MNAC is published on the site of the institution, and has been subject to a public competition organized by the Ministry of Culture. My future activities are easy to check against this frame. More than that, MNAC launched in October its first open call for curatorial projects, and the response has been beyond expectations&mdash;over 80 proposals. Those proposals will be analyzed by a commission composed by people from MNAC and people from outside, all specialists in visual arts, visual culture, and/or communication. They will draw a list of priorities that will be submitted to the Scientific Committee, an international board of experts, which will draw the final program for the period April 2015&ndash;April 2016. Those proceedings will be kept and reiterated as long as I am leading the museum.</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;"><img src="http://dbprng00ikc2j.cloudfront.net/userimages/32120/1dkh/20150115120544-IMG_0170.JPG" alt="" /></span></p> <p style="line-height: 26px; text-align: center;"><span style="font-size: x-small;"><span style="font-family: georgia, palatino;">Installation view from <em>Bucharest Artistic Education and Romanian Art After 1950</em>,</span><span style="font-family: georgia, palatino;">&nbsp;2014&ndash;2015, Exhibition for the 150th anniversary of the University of Visual Art, Curator: Adrian Guță,&nbsp;Architect: Attila Kim</span></span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">&nbsp;</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;"><strong><em>OS: Tell us about the current exhibitions, which were a huge success.&nbsp;How do they communicate the direction you have in mind for the museum?&nbsp;</em></strong></span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;"><strong>CD:</strong> Deimantas Narkevicius&rsquo; solo show <em>Cupboard and a Song</em> is a comprehensive retrospective of this very sophisticated artist who challenges our memories of the communist system. His discourse is suggestive also for our curatorial vision about the ground floor, where the Marble Room will host sparse, minimalistic interventions with a heavy conceptual load. Moreover, Deimantas, coming on the international scene from Lithuania, illustrates our intention of strengthening links with countries from the former communist block, and with the countries from the Balkans, in order to build a powerful regional profile.</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">The exhibition <em>New Beginnings</em>, from the 3rd floor, with recent acquisitions from the Museum of Contemporary Art Belgrade is as well part of this strategy; it shows the amazing capacity of renewal manifest by the one of the oldest institutions of its kind in the region, and also it gives a view of the (former) Yugoslavian scene, so rich and so vivid at this time. <em>Dispositions in Time and Space</em> is a hybrid event, started from a collective performance in the shape of a trip and ending in a collective installation about the art language and its limits. <em>What About Y(our) Memory</em> is a dense survey of the most important artists connected as teachers and/or students with the Photo-Video department of the Art University of Bucharest. Finally, <em>Bucharest Artistic Education and Romanian Art after 1950</em> is MNAC&rsquo;s first attempt at a long-term exhibition with a theme encouraged by the collection of the museum.</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">&nbsp;</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">&mdash;<a href="http://www.artslant.com/global/artists/show/51287-olga-stefan?tab=REVIEWS" target="_blank">Olga Stefan</a></span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">&nbsp;</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: x-small;">(Image at top: Călin Dan; All images courtesy of MNAC &ndash; Muzeul Național de Artă Contemporană, București)</span></p> Thu, 15 Jan 2015 14:20:37 +0000 http://www.artslant.com/cn/Articles/list http://www.artslant.com/cn/Articles/list The Magical Elixir of Art Pop <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium; text-align: justify;">To some, the relationship between art and pop is pretty negligent. It exists in the value of Kanye West's design collection (est. $946,708 net worth) or the newsworthy copy of Millie Brown vomiting over Lady Gaga, but symbiotically? Yeah, I hear the groans. "Pretentious!"&mdash;they exclaim towards the latest Bjork multi-platform app or "turn this fucking shit off" as I'm forced to remove the needle from Trout Mask Replica. To these people, the clever, meaningless lyrics of early Eno and Ferry are just plain meaningless, and Arthur Russell simply made some nice sounds. However, for me, the connection between art and pop is everything: it became my lifeline, my gateway into adult life. And I want to describe to you, in around 500 words, why Art + Pop = Something Very Important to Life Itself.</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">&nbsp;</span></p> <p style="text-align: center;"><iframe src="//www.youtube.com/embed/z6_ikWlJu_0" frameborder="0" width="560" height="315"></iframe></p> <p style="line-height: 26px; text-align: justify;"><br /><span style="font-family: georgia, palatino; font-size: medium;">As a skinny, messy-haired teen struggling in a school where the only criteria of success was based on the ability to regurgitate information, the scuffed canvases of the art department were elixir&mdash; unlocking my imagination the same way being passed a Walkman one lunch break and hearing the wiry basslines, bizarre half Spanish lyrics and screaming guitars of some band called The Pixies changed absolutely everything. All of a sudden, here was ambiguity and abstract. The lack of certainty, the lack of precise meaning, a world absent of meatheads and their "I Love You" lyrics and square roots and algebra. Here, in a world in which one's own conclusions could be drawn, I realized for the first time I was not necessarily stupid: I was free. And the thing that had kept me down was dogmatic certainty.</span><br /><br /><span style="font-family: georgia, palatino; font-size: medium;">Over the years, I've drawn inspiration from the way pan-dimensional sensualists Can and candy-hearted sadomasochists The Velvet Underground infected rock norms with the avant garde; in the narratives created by Kate Bush and Bowie and pretty much everything and everyone that came out of the fusion of punks, artists, classical musicians, and disco in the late 70s Lower East Side Manhattan. Art-pop celebrates the misshape, and in the Britpop 90s, Pulp's kitchen sink St Martins satire <em>Common People</em> became such a big hit that even Oxfam-clad freaks like me started to get laid.</span><br /><br /><span style="font-family: georgia, palatino; font-size: medium;">So, where does this leave us now? In 2015 is anything going down deeper than a Jay Z namecheck ("Jeff Koons balloons I just wanna blow up" from <em>Picasso Baby</em>)? Could the answer be in California's fantastic experimental hip hop group Death Grips? Masters at creating a world of ambiguity to the extent nobody is sure if they even currently exist. Or how about the loose London collective PC Music? Whose post-digital remodelling of outmoded Windows software and lo-fi noughties sugary pop have been doing the necessaries of annoying exactly the right people.</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">&nbsp;</span></p> <p style="line-height: 26px; text-align: center;"><span style="font-family: georgia, palatino; font-size: medium;"><img src="http://dbprng00ikc2j.cloudfront.net/userimages/101642/4cut/20150114135444-DSC_0989-Death-Grips.jpg" alt="" /></span><br /><span style="font-family: georgia, palatino; font-size: small;">Death Grips</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">The importance of art and pop's union is liberation, a voice for the marginalized, a magical mixture of doing the opposite of what straight normal society requires of us. Pop amplifies the aesthetics that can otherwise take an entire education to understand and hardwires it into concrete human feeling. 2015 opened immediately into a world of extremism and polarity, and anything that encourages us to think without boundaries, to accept ambiguity, to see color and beauty rather than black and white/yes or no/with us or against us feels to me like it could be extremely good for the planet's health. Who knows: if the disenfranchised had a Bowie or Madonna to turn to rather than a radicalized cleric, could we look towards a less violent future?</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">&nbsp;</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">&mdash;<a href="http://www.artslant.com/global/artists/show/408013-paul-hanford" target="_blank">Paul Hanford</a></span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">&nbsp;</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: x-small;">(Image on top:&nbsp;SOPHIE; Photo: Diamond Wright)</span></p> Thu, 15 Jan 2015 10:32:03 +0000 http://www.artslant.com/cn/Articles/list http://www.artslant.com/cn/Articles/list A Graffiti Gallery Show That Might Actually Be Good <p style="text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium; line-height: 26px;">We've not been hugely supportive of institutional presentations of graffiti <a href="http://www.artslant.com/par/articles/show/40799" target="_blank">previously</a>: too often they put out unresponsive, stale, or simply haphazard exhibitions that do not render context or format. They assign too much concept or none at all, and each is as bad as the other.</span></p> <p style="text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium; line-height: 26px;">But this massive group show, <em><a href="http://www.somersethouse.org.uk/visual-arts/mapping-the-city" target="_blank">Mapping the City</a>,</em> in association with A(by)P&nbsp;at the new wing of Somerset House, London (ironically, a former tax office) looks like a well-balanced approach to circumventing this problematic art form in the context of the Museum.</span></p> <p style="text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium; line-height: 26px;">The exhibition will include work from over 50 artists on the shared theme of the city, identifying something that all dedicated graffiti artists have in common: a unique perspective of the urban architecture. By identifying this common knowledge, and by presenting new works, a more natural connection between the Institute and the artist seems to have been forged. Over 40 of the contributions have been specially commissioned by A(by)P. The interpretations will differ wildly as there's no real connection between the artists&mdash;other than their background in painting walls&mdash;but it will be interesting to see how artists as diametrically different as Lush and Horfe will react to the brief.&nbsp;</span></p> <p style="text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium; line-height: 26px;"><em>Mapping the City</em>&mdash;which opens next week&mdash;commissioned </span><span style="font-family: georgia, palatino; font-size: medium; line-height: 26px;">a carefully selected list of artists from the graffiti and street art camps. Sure, there are some crowd-pullers among them that we're used to seeing, but there are also some respectably "underground" choices, if such a thing still exists, from members of Paris' PAL crew, to Scandavians like Egs, Nug, Erosie, and Etka. Brits among them are <a href="http://www.artslant.com/ew/articles/show/41352" target="_blank">Daniel K. Sparkes</a>, Russell Maurice, and Petro, who formed a D.I.Y movement, Comic Abstraction a few years ago.</span></p> <p style="text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium; line-height: 26px;">In short, it would be great if this happened more. Here's a preview ahead of next week's opening.&nbsp;</span>&nbsp;</p> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: center;"><img src="http://dbprng00ikc2j.cloudfront.net/userimages/101642/4cut/20150113171711-1._Mapping_the_City_at_Somerset_House._Shepard_Fairey._Berlin_Tower__2011.jpg" alt="" /></p> <p style="text-align: center;"><span style="font-family: georgia, palatino; font-size: x-small; line-height: 26px;">Shepard Fairey, Berlin Tower, 2011&nbsp;</span></p> <p style="text-align: center;"><span style="font-family: georgia, palatino; font-size: x-small; line-height: 26px;"><img src="http://dbprng00ikc2j.cloudfront.net/userimages/101642/4cut/20150113172735-2._Mapping_the_City_at_Somerset_House._Chu__Julian_Pablo_Manzelli_._Buenos_Aires__2012.jpg" alt="" /></span></p> <p style="text-align: center;"><span style="font-family: georgia, palatino; font-size: x-small; line-height: 26px;">Chu, Buenos Aires, 2012</span></p> <p style="text-align: center;"><span style="font-family: georgia, palatino; font-size: x-small; line-height: 26px;"><img src="http://dbprng00ikc2j.cloudfront.net/userimages/101642/4cut/20150113173206-4._Mapping_the_City_at_Somerset_House._Swoon._Bangkok__2009-2012.jpg" alt="" /></span></p> <p style="text-align: center;"><span style="font-family: georgia, palatino; font-size: x-small; line-height: 26px;">Swoon, <em>Bangkok</em>, 2009-2012</span></p> <p style="text-align: center;"><span style="font-family: georgia, palatino; font-size: x-small; line-height: 26px;"><img src="http://dbprng00ikc2j.cloudfront.net/userimages/101642/4cut/20150113173717-3._Mapping_the_City_at_Somerset_House._Jurne._Covalence__2013.jpg" alt="" /></span></p> <p style="text-align: center;"><span style="font-family: georgia, palatino; font-size: x-small; line-height: 26px;">Jurne, <em>Covalence</em>, 2013&nbsp;</span></p> <p style="text-align: center;"><span style="font-family: georgia, palatino; font-size: x-small; line-height: 26px;"><img src="http://dbprng00ikc2j.cloudfront.net/userimages/101642/4cut/20150113174017-9._Mapping_the_City_at_Somerset_House._MOMO._Tag_Manhattan__2013__original_project_2006_.jpg" alt="" /></span></p> <p style="text-align: center;"><span style="font-family: georgia, palatino; font-size: x-small; line-height: 26px;">MOMO, <em>Tag Manhattan</em>, 2013 (Original project 2006)</span></p> <p style="text-align: center;"><span style="font-family: georgia, palatino; font-size: x-small; line-height: 26px;"><img src="http://dbprng00ikc2j.cloudfront.net/userimages/101642/4cut/20150113174302-6._Mapping_the_City_at_Somerset_House._Isaac_Tin_Wei_Lin._Abstract_Rug_Design_for_a_Dwelling_in_the_Plains__2012.jpg" alt="" /></span></p> <p style="text-align: center;"><span style="font-family: georgia, palatino; font-size: x-small; line-height: 26px;">Issac Tin Wei Lin, <em>Abstract Rug Design for a Dwelling in the Plains</em>, 2012</span></p> <p style="text-align: center;"><span style="font-family: georgia, palatino; font-size: x-small; line-height: 26px;">&nbsp;</span></p> <p style="text-align: left;"><span style="font-family: georgia, palatino; font-size: x-small; line-height: 26px;"><span style="font-size: medium;">&mdash;<a href="http://www.artslant.com/global/artists/show/162742-char-jansen?tab=REVIEWS" target="_blank">Char Jansen</a></span><br /></span></p> <p style="text-align: left;"><span style="font-family: georgia, palatino; font-size: x-small; line-height: 26px;"><span style="font-size: medium;">&nbsp;</span></span></p> <p style="text-align: justify;"><span style="font-family: georgia, palatino; font-size: x-small; line-height: 26px;">(Image on top: Mike Ballard, <em>The Ultra Poet</em>)</span></p> Tue, 13 Jan 2015 19:26:18 +0000 http://www.artslant.com/cn/Articles/list http://www.artslant.com/cn/Articles/list Paris Dispatches: Tous Charlie | An Artist's Walk Meets a City's March <p style="line-height: 26px; text-align: justify;" dir="ltr"><em style="font-family: georgia, palatino; font-size: medium;">Paris Dispatches is the blog of ArtSlant's Georgia Fee Artist in Residence, Brett Day Windham, who will be undertaking her residency in Paris during January and February 2015. She will be using the blog to share her process, work, and experience throughout the residency. You can find more information about ArtSlant's Georgia Fee Artist/Writer Residency&nbsp;<a href="http://www.artslant.com/par/articles/show/33747" target="_blank">here</a>.</em><span style="font-family: georgia, palatino; font-size: medium;"><br /></span></p> <p style="line-height: 26px; text-align: justify;" dir="ltr">&nbsp;</p> <p style="line-height: 26px; text-align: justify;" dir="ltr"><span style="font-family: georgia, palatino; font-size: medium;">Six days ago, I was anxious about leaving New York, hoping I was <a href="http://www.artslant.com/par/articles/show/41742" target="_blank">prepared for my adventure</a>, and double checking my <a href="http://instagram.com/p/xc8hLOtaws/?modal=true" target="_blank">packing list</a>. I had no idea that my first day in Paris would bring the <em>Charlie Hebdo</em> attacks, or that for the next week I would be surrounded by uncertainty, terrorism, murder, and some intense <a href="http://www.cnn.com/videos/us/2015/01/10/pkg-orig-maher-controversial-response-france-attacks-charlie-hebdo.cnn" target="_blank">political grandstanding</a>. I have been smack in the middle of things here in Paris. I keep criss-crossing around and through emergencies on my daily walks. On Tuesday I was innocent of the day's events at <em>Charlie Hebdo</em> until I got home and checked the news. </span></p> <p style="line-height: 26px; text-align: justify;" dir="ltr"><span style="font-family: georgia, palatino; font-size: medium;">My <a href="http://en.wikipedia.org/wiki/Pletzl" target="_blank">vibrant, popular neighborhood</a> in Le Marais is historically Jewish and newly Arab, and has been intermittently shuttered throughout the week. I have woken each day to the sound of sirens coming and going on the street beyond my courtyard, as my apartment lies close to the site of the hostage standoff at the Jewish Grocery, en route to the main hospital, and right in between Republique and Place de la Bastille, the historical marching route used for Sunday&rsquo;s peace rally. <a href="http://www.bbc.com/news/world-europe-30765824">I walked in that march yesterday</a>, and then walked back along its path when it was over, collecting photographs, cast-off signs, and all manner of signifiers as I went.</span></p> <p style="line-height: 26px; text-align: justify;" dir="ltr"><span style="font-family: georgia, palatino; font-size: medium;">&nbsp;</span></p> <p style="line-height: 26px;" dir="ltr"><span style="font-family: georgia, palatino; font-size: medium;"><img style="display: block; margin-left: auto; margin-right: auto;" src="https://lh4.googleusercontent.com/Ln1YwqSWFNxhvjXVlCvpBQEMsIOYufPrzG9yLHCzcJzvUQWUcG-jjzQL7Q9N99smS4FqUCmV2AkctOfOmrLljJhsgxE_lozDPU1o5UmJpqwuPwGHXLrmeVcPgy1e7t_gcg" alt="" width="340px;" height="457px;" /></span></p> <p style="line-height: 26px; text-align: center;" dir="ltr"><span style="font-family: georgia, palatino; font-size: small;">A hand picked up from the ground while walking</span></p> <p style="line-height: 26px; text-align: justify;">&nbsp;</p> <p style="line-height: 26px; text-align: justify;" dir="ltr"><span style="font-family: georgia, palatino; font-size: medium;">I thought about what it meant for a walking artist to take her daily stroll in the middle of a political demonstration, and what it was to walk with over a million other people instead of just one. I tried to slow myself to their pace, and tried not to seem a bit off as I picked up bits of caution tape and &ldquo;nous sommes tous charlie&rdquo; stickers. With the interest of the walking Fl&acirc;neuse, I checked out their fantastic demonstration-chic (many pencils holding up a small chignon, yellow berets and sneakers, and a flirtatious little boy dressed as Charlie Brown riding on his mother&rsquo;s shoulders with a sign that read &ldquo;not even scared&rdquo; in French). The vibe was calm. I noticed a lot of families, just regular people, out to take back their streets, reclaim their city and be together. In the end, the march was incredibly soothing. It was very quiet (compared to demonstrations I&rsquo;ve participated in in New York and D.C.), with rhythmic bursts of claps and gently sung renditions of "La Marseillaise."</span></p> <p style="line-height: 26px; text-align: justify;">&nbsp;</p> <p style="line-height: 26px;" dir="ltr"><span style="font-family: georgia, palatino; font-size: medium;"><img style="display: block; margin-left: auto; margin-right: auto;" src="https://lh5.googleusercontent.com/zEYD994b_OvWsHvcMSdZ3DtSJ7zm4kL5Xjnz8LsEyLL36kuvmw90n-ZwGTgb4Hpkw8trFR2ngQHDvRPtsKoOzh0n1uW6in1wfhX4qZN0SIZAgim1SHrjcDMK5J6-t4aLeQ" alt="" width="624px;" height="351px;" /></span></p> <p style="line-height: 26px; text-align: center;" dir="ltr"><span style="font-family: georgia, palatino; font-size: small;">A flirtatious little boy who is &ldquo;not even afraid&rdquo;</span></p> <p style="line-height: 26px; text-align: justify;">&nbsp;</p> <p style="line-height: 26px; text-align: justify;" dir="ltr"><span style="font-family: georgia, palatino; font-size: medium;">Above and beyond all the <a href="http://nymag.com/daily/intelligencer/2015/01/charlie-hebdo-point-missers-miss-point.html" target="_blank">questions and political combustion about who poked at which bear and what triggered this attack,</a> free speech and a sense of basic security is a human right. The fact that this attack began with an assault against artists left me reeling; I think that (particularly in the US) artists are left to mill about within their &ldquo;creative class&rdquo; and often feel separate from politics, media, and mass culture. Friends have told me repeatedly that in Europe this is not true, and I felt it this week. While I am not a satirical cartoonist, I am an artist who is interested in culture and society. There is no way to feel disconnected from an attack of this nature. Simple empathy wouldn&rsquo;t do&mdash;the week <a href="http://www.thenation.com/blog/194513/nous-sommes-tous-charlie-defend-freedom-expression-france-and-around-world" target="_blank">raised a lot of questions for me about the varied effects and purposes of art-making</a>.</span></p> <p style="line-height: 26px; text-align: justify;">&nbsp;</p> <p style="line-height: 26px;" dir="ltr"><span style="font-family: georgia, palatino; font-size: medium;"><img style="display: block; margin-left: auto; margin-right: auto;" src="https://lh4.googleusercontent.com/0jG-eKM9iFwz5zDjB_04VBOJ-3s5gCUGzDO8ZKlTHqnjrmPOq9XWcP7xeIHEXs54pL6rnq6NYQKRSTw6eX5M7FEudF6Ze-32Da-z27W4uTRhdmWCC7YRzqL7vpduY24Y8A" alt="" width="323px;" height="502px;" /></span></p> <p style="line-height: 26px; text-align: center;" dir="ltr"><span style="font-family: georgia, palatino; font-size: small;">An unbroken pencil, in solidarity with political cartoonists everywhere</span></p> <p style="line-height: 26px; text-align: justify;">&nbsp;</p> <p style="line-height: 26px; text-align: justify;" dir="ltr"><span style="font-family: georgia, palatino; font-size: medium;">It was good to march with Paris today, and it didn&rsquo;t hurt that the Parisians&rsquo; quiet chant &ldquo;fra-ter-ni-t&eacute;&rdquo; <a href="http://metropole.rennes.fr/fileadmin/rrm/documents/Actualites/Citoyennete/images/rassemblement_charlie_hebdo.jpg" target="_blank">made this outsider feel included, protected in their numbers</a>. I have refused to be dissuaded from taking my daily walks or from fulfilling the promise of my project: my next post will attend to the beauty and mystery of the rest of my explorations from my first week in Paris, and the various routines and rituals I&rsquo;ve been imposing on my project.</span></p> <p style="line-height: 26px; text-align: justify;">&nbsp;</p> <p style="line-height: 26px;" dir="ltr"><span style="font-family: georgia, palatino; font-size: medium;"><img style="display: block; margin-left: auto; margin-right: auto;" src="https://lh6.googleusercontent.com/HF-yQiESVphuWzYO70hjad7ctMXRzKKD62q_Rc-9Qvqf8klBigiEx7Hnlfh2vbfUweFDvxzGnceNQgOOm0mHzNL-9rf8y-gmNAsBUHk3b10FvBk5kdgRo13hbDi33ZYezA" alt="" width="496px;" height="663px;" /></span></p> <p style="line-height: 26px; text-align: center;" dir="ltr"><span style="font-family: georgia, palatino; font-size: small;">La Collone de Juliet, at La Place de la Bastille, after the march</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">&nbsp;</span></p> <p style="line-height: 26px; text-align: justify;"><br /><span style="font-family: georgia, palatino; font-size: medium; line-height: 26px;">&mdash;<a href="http://www.artslant.com/global/artists/show/213864-brett-day-windham" target="_blank">Brett Day Windham</a></span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium; line-height: 26px;">&nbsp;</span></p> <p style="text-align: justify;" dir="ltr"><em><span style="font-family: georgia, palatino; font-size: small;"><a href="http://brettdaywindham.com/" target="_blank">Brett Day Windham </a>(born Cambridge, England, raised Providence, Rhode Island) is a multidisciplinary artist working with sculpture, installation and collage. She received a BFA from Hampshire College and an MFA in Sculpture from RISD. Her work has been included in shows around the US, including The Chace Center at the RISD Museum (Providence), Tompkins Projects West (Los Angeles), Cave (Detroit), Lu Magnus (NY), Brooklyn Fireproof (NY), Gallery Project (Ann Arbor), 808 Gallery (Boston), Sams&oslash;n Projects (Boston), University of Maine Museum of Art (Bangor), and RMCAD (Denver). Windham received a Dean&rsquo;s fellowship while at RISD, and was nominated for the Joan Mitchell MFA Grant that same year. Residencies she has attended include The Select Fair Residency in 2014 (New York), The Chrysler Museum Glass Studio in 2013 (Norfolk, Virginia), TSKW in 2010 (Key West, Florida), Cascina Remondenca in 2009 (Chiaverano, Italy), and Penland in 2005 (Penland, North Carolina). Her work has been discussed in Hyperallergic, The New York Times, Whitewall Magazine, Her Royal Majesty, The Dinner Party and The Bangor Daily News.</span></em></p> <p style="text-align: justify;" dir="ltr"><em><span style="font-family: georgia, palatino; font-size: small;">Windham uses color and composition to organize collections of natural, commercial and industrial remnants into multi-disciplinary works which confer a sense of mysticism and ritual. Specific sets of objects (as varied as discarded dime bags, broken earbuds, mussel shells, feathers, floor sweepings and bound and recycled magazines) hold totemic powers: she is interested in the anthropological stories they tell. Over time, she accumulates these materials from such varied sources as sidewalks, the floors of other artist's studios, or from nature: these time-based collections are then used as components for assembled sculptures, or are photographed, printed, cut and manipulated for collages.</span></em></p> <p style="text-align: justify;" dir="ltr"><em><span style="font-family: georgia, palatino; font-size: small;">&nbsp;</span></em></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: small; line-height: 26px;">(All images courtesy of the author.)</span></p> Mon, 12 Jan 2015 12:58:55 +0000 http://www.artslant.com/cn/Articles/list http://www.artslant.com/cn/Articles/list Paris Dispatches: Anticipating Arrival | A Residency Reading List <p style="line-height: 26px; text-align: justify;" dir="ltr"><em style="font-family: georgia, palatino; font-size: medium;">Paris Dispatches is the blog of ArtSlant's Georgia Fee Artist in Residence, Brett Day Windham, who will be undertaking her residency in Paris during January and February 2015. She will be using the blog to share her process, work, and experience throughout the residency. You can find more information about ArtSlant's Georgia Fee Artist/Writer Residency&nbsp;<a href="http://www.artslant.com/par/articles/show/33747" target="_blank">here</a>.</em><span style="font-family: georgia, palatino; font-size: medium;"><br /></span></p> <p style="line-height: 26px; text-align: justify;" dir="ltr">&nbsp;</p> <p style="line-height: 26px; text-align: justify;" dir="ltr"><span style="font-family: georgia, palatino; font-size: medium;">As I prepared to embark on my two month winter exploration of Paris, I began organizing my thoughts, my books, my suitcase. I made lists, as one does: reading lists, lists of places to walk to, lists of people to walk with, lists of bakeries to haunt, and the types of supplies I&rsquo;ll need. Walking shoes, cameras, wire cutters, watercolors, notebooks, layers and layers of black.&nbsp;</span><span style="font-family: georgia, palatino; font-size: medium;">Friends have been sending me incredible lists of suggested walks, favorite caf&eacute;s, books to read, and places to buy the best fresh vegetables. And now I&rsquo;ve made a list of lists.</span></p> <p style="line-height: 26px; text-align: justify;" dir="ltr"><span style="font-family: georgia, palatino; font-size: medium;">I am thinking and conjuring and wondering what kind of detritus I will find in Paris. Anywhere I&rsquo;ve traveled, I always seem to find chicken bones, dime bags, washers, tire weights, bits of strapping, feathers, and curiously enough, random playing cards. Will the types of things I find in Paris be different from what I&rsquo;ve found in New York? &nbsp;Will they be more poetic, more esoteric, more whimsical? After all, if </span><a style="font-family: georgia, palatino; font-size: medium;" href="http://mitpress.mit.edu/books/dialectics-seeing" target="_blank">Susan Buck-Morss</a><span style="font-family: georgia, palatino; font-size: medium;"> is convinced that &ldquo;[Walter] Benjamin took the debris of mass culture seriously as the source of philosophical truth,&rdquo; what cast-offs might I accumulate that could reflect this, however abstractly? For more on Ms. Buck-Morss, read on for my preliminary reading list.�</span></p> <p style="line-height: 26px; text-align: justify;" dir="ltr"><span style="font-family: georgia, palatino; font-size: medium;">&nbsp;</span></p> <p style="line-height: 26px;"><img style="display: block; margin-left: auto; margin-right: auto;" src="https://lh3.googleusercontent.com/ZQyBHO3uBPELC1vxUvmBXuuclaFruRaaMkOH0OhAsA4iuvT2jjPfUGtk2g2PyEXNY5fj2r6Brt3QmrFfUrD9ff3_pPpeBic53plFj68eFaKnfpstR7r3HcB_Q10RTD-jew" alt="photo 2.JPG" width="347px;" height="465px;" /></p> <p style="line-height: 26px;">&nbsp;</p> <ol style="line-height: 26px; text-align: justify;"> <li style="line-height: 26px; text-align: justify;" dir="ltr"> <p style="line-height: 26px; text-align: justify;" dir="ltr"><span style="font-family: georgia, palatino; font-size: medium;"><em><a href="http://www.amazon.com/Markets-Paris-2nd-Antiques-Crafts/dp/1936941007/ref=sr_1_1?s=books&amp;ie=UTF8&amp;qid=1419957438&amp;sr=1-1&amp;keywords=Markets+of+Paris" target="_blank">Markets of Paris </a></em>- by Dixon Long &amp; Marjorie R. Williams</span></p> </li> <li style="line-height: 26px; text-align: justify;" dir="ltr"> <p style="line-height: 26px; text-align: justify;" dir="ltr"><span style="font-family: georgia, palatino; font-size: medium;"><a href="http://www.amazon.com/Rimbaud-Poems-Everymans-Library-Pocket/dp/067943321X/ref=sr_1_8?s=books&amp;ie=UTF8&amp;qid=1419957334&amp;sr=1-8&amp;keywords=rimbaud" target="_blank">Rimbaud</a> - Collected Poems</span></p> </li> <li style="line-height: 26px; text-align: justify;" dir="ltr"> <p style="line-height: 26px; text-align: justify;" dir="ltr"><span style="font-family: georgia, palatino; font-size: medium;"><em><a href="http://www.thriftbooks.com/w/the-primary-colors-three-essays_alexander-theroux/341804/?isbn=0805031057&amp;gclid=CMCrkfaY7sICFcFr7AodDFYA4w" target="_blank">The Primary Colors</a></em> - Alexander Theroux</span></p> </li> <li style="line-height: 26px; text-align: justify;" dir="ltr"> <p style="line-height: 26px; text-align: justify;" dir="ltr"><span style="font-family: georgia, palatino; font-size: medium;"><em><a href="http://www.amazon.com/Paris-vs-New-York-French/dp/2264056304/ref=sr_1_2?s=books&amp;ie=UTF8&amp;qid=1419957092&amp;sr=1-2&amp;keywords=paris+vs+new+york" target="_blank">Paris Vs New York</a></em> - Vahram Muratyan</span></p> </li> <li style="line-height: 26px; text-align: justify;" dir="ltr"> <p style="line-height: 26px; text-align: justify;" dir="ltr"><span style="font-family: georgia, palatino; font-size: medium;"><em><a href="http://www.amazon.com/Men-Explain-Things-Rebecca-Solnit/dp/1608463869/ref=sr_1_1?s=books&amp;ie=UTF8&amp;qid=1419957057&amp;sr=1-1&amp;keywords=men+explain+things+to+me" target="_blank">Men Explain Things To Me</a></em> - Rebecca Solnit</span></p> </li> <li style="line-height: 26px; text-align: justify;" dir="ltr"> <p style="line-height: 26px; text-align: justify;" dir="ltr"><span style="font-family: georgia, palatino; font-size: medium;"><em><a href="http://www.amazon.com/Forever-Paris-Footsteps-Hemingway-Picasso/dp/1452104883" target="_blank">Forever Paris</a>: 25 Walks in the Footsteps of Chanel, Hemingway&hellip;</em> - Christina Henry de Tessan</span></p> </li> <li style="line-height: 26px; text-align: justify;" dir="ltr"> <p style="line-height: 26px; text-align: justify;" dir="ltr"><span style="font-family: georgia, palatino; font-size: medium;"><em><a href="http://www.amazon.com/Field-Guide-Getting-Lost/dp/0143037242/ref=sr_1_1?s=books&amp;ie=UTF8&amp;qid=1419957554&amp;sr=1-1&amp;keywords=A+Field+Guide+To+Getting+Lost" target="_blank">A Field Guide To Getting Lost</a></em> - Rebecca Solnit</span></p> </li> <li style="line-height: 26px; text-align: justify;" dir="ltr"> <p style="line-height: 26px; text-align: justify;" dir="ltr"><span style="font-family: georgia, palatino; font-size: medium;"><em><a href="http://www.amazon.com/Wanderlust-History-Walking-Rebecca-Solnit/dp/0140286012/ref=pd_sim_b_2?ie=UTF8&amp;refRID=02J1A76YQDCY4TSF7D2E" target="_blank">Wanderlust </a></em>- Rebecca Solnit</span></p> </li> <li style="line-height: 26px; text-align: justify;" dir="ltr"> <p style="line-height: 26px; text-align: justify;" dir="ltr"><span style="font-family: georgia, palatino; font-size: medium;"><em><a href="http://www.amazon.com/Arcades-Project-Walter-Benjamin/dp/0674008022/ref=sr_1_1?s=books&amp;ie=UTF8&amp;qid=1419957592&amp;sr=1-1&amp;keywords=The+Arcades+Project" target="_blank">The Arcades Project</a></em> - Walter Benjamin,&nbsp;<a href="http://en.wikipedia.org/wiki/Arcades_Project" target="_blank">&ldquo;his attempt to use collage techniques in literature&rdquo;</a></span></p> </li> <li style="line-height: 26px; text-align: justify;" dir="ltr"> <p style="line-height: 26px; text-align: justify;" dir="ltr"><span style="font-family: georgia, palatino; font-size: medium;"><em><a href="http://www.amazon.com/Les-Fleurs-Mal-Charles-Baudelaire/dp/0879234628">Les Fleurs du Mal </a></em>- Baudelaire (Specifically the Tableaux Parisiennes during Haussmann&rsquo;s Paris renovations 1853-1870)</span></p> </li> <li style="line-height: 26px; text-align: justify;" dir="ltr"> <p style="line-height: 26px; text-align: justify;" dir="ltr"><span style="font-family: georgia, palatino; font-size: medium;"><em><a href="http://www.amazon.com/Dialectics-Seeing-Benjamin-Arcades-Contemporary/dp/0262521644/ref=sr_1_1?s=books&amp;ie=UTF8&amp;qid=1419957983&amp;sr=1-1&amp;keywords=The+Dialectics+of+Seeing" target="_blank">The Dialectics of Seeing</a></em> - Susan Buck-Morss</span></p> </li> <li style="line-height: 26px; text-align: justify;" dir="ltr"> <p style="line-height: 26px; text-align: justify;" dir="ltr"><span style="font-family: georgia, palatino; font-size: medium;"><em><a href="http://www.amazon.com/Dream-Worlds-Consumption-Century-France/dp/B00BGVQWRC/ref=sr_1_1?s=books&amp;ie=UTF8&amp;qid=1419958008&amp;sr=1-1&amp;keywords=Dream+Worlds+-+Mass+Consumption+in+late+19th+C+France" target="_blank">Dream Worlds - Mass Consumption in Late 19th Century France</a></em> - Rosalind Williams</span></p> </li> <li style="line-height: 26px; text-align: justify;" dir="ltr"> <p style="line-height: 26px; text-align: justify;" dir="ltr"><span style="font-family: georgia, palatino; font-size: medium;"><em><a href="http://www.amazon.com/Feminist-Practices-Lori-Brown/dp/1409421171/ref=sr_1_1?s=books&amp;ie=UTF8&amp;qid=1419958035&amp;sr=1-1&amp;keywords=Feminist+Practices%3A+Interdisciplinary+Approaches+to+Women+in+Architecture" target="_blank">Feminist Practices: Interdisciplinary Approaches to Women in Architecture</a></em> - edited by Dr. Lori Brown.</span>&nbsp;</p> <p style="line-height: 26px; text-align: justify;" dir="ltr"><span style="font-family: georgia, palatino; font-size: medium;">&ldquo;The surveillance, public censure and political powerlessness that the homeless woman experiences as she stakes out private territory in the city is in stark contrast to the comfortable interior that Benjamin&rsquo;s archetypal fl&aring;neur experiences. Benjamin&rsquo;s &ldquo;fl&aring;neur&rdquo; is a wandering dandy, voyeur, a poet, a &ldquo;dreaming idler&rdquo; at times a predator, and always male. <strong>For him, walking transforms Paris into a comfortable intimate interior space without thresholds&hellip;.While the street absorbs and seduces the male wanderer, or &nbsp;fl&aring;neur, so he transforms Paris from a public realm into a private one. For women however, moving through the streets is a very different experience.</strong> In the era when Benjamin was writing, merely walking in the street alone or at the wrong time could place a woman under suspicion of prostitution and give grounds for arrest&rdquo; (p 381).</span></p> </li> <li style="line-height: 26px; text-align: justify;" dir="ltr"> <p style="line-height: 26px; text-align: justify;" dir="ltr"><span style="font-family: georgia, palatino; font-size: medium;"><em><a href="http://www.amazon.com/My-Paris-Novel-Gail-Scott/dp/155128068X/ref=sr_1_2?s=books&amp;ie=UTF8&amp;qid=1419958059&amp;sr=1-2&amp;keywords=My+Paris%3A+A+Novel" target="_blank">My Paris: A Novel </a></em>- by Gail Scott </span></p> <p style="line-height: 26px; text-align: justify;" dir="ltr"><span style="font-family: georgia, palatino; font-size: medium;">("In contemporary Paris, a diarist persistently gathers the remains of an epoch, accompanied by the literary ghost of Walter Benjamin, whose famous Paris arcades project serves as a kind of Baedeker. But, <strong>little by little she becomes an amalgam of her detritus</strong>&mdash;including a touch of resentment. For alongside the pleasurable Paris in which expatiate avant-garde artists and rebels have traditionally flourished lies a typically complex city, teeming with disaster.") Note: I have begun reading this book, and am transfixed by its beauty.</span></p> </li> <li style="line-height: 26px; text-align: justify;" dir="ltr"> <p style="line-height: 26px; text-align: justify;" dir="ltr"><span style="font-family: georgia, palatino; font-size: medium;">"<a href="https://www.nytimes.com/books/00/02/20/reviews/000220.20millert.html" target="_blank">The Start of Something Big</a>" - James Miller, &nbsp;<em>New York Times</em> Review of the New Edition of<em> The Arcades Project</em>, February 20, 2000.&nbsp; </span></p> <p style="line-height: 26px; text-align: justify;" dir="ltr"><span style="font-family: georgia, palatino; font-size: medium;">"'<strong>Your study,' he carped in 1938, referring to a yet another draft of an essay drawn from <em>The Arcades Project</em>, 'is located at the crossroads of magic and positivism.</strong>'" &mdash;Theodor Adorno, as quoted by James Miller.</span></p> </li> </ol> <p style="line-height: 26px; text-align: justify;"><br /><br /><span style="font-family: georgia, palatino; font-size: medium; line-height: 26px;">&mdash;<a href="http://www.artslant.com/global/artists/show/213864-brett-day-windham" target="_blank">Brett Day Windham</a></span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium; line-height: 26px;">&nbsp;</span></p> <p style="text-align: justify;" dir="ltr"><em><span style="font-family: georgia, palatino; font-size: small;"><a href="http://brettdaywindham.com/" target="_blank">Brett Day Windham </a>(born Cambridge, England, raised Providence, Rhode Island) is a multidisciplinary artist working with sculpture, installation and collage. She received a BFA from Hampshire College and an MFA in Sculpture from RISD. Her work has been included in shows around the US, including The Chace Center at the RISD Museum (Providence), Tompkins Projects West (Los Angeles), Cave (Detroit), Lu Magnus (NY), Brooklyn Fireproof (NY), Gallery Project (Ann Arbor), 808 Gallery (Boston), Sams&oslash;n Projects (Boston), University of Maine Museum of Art (Bangor), and RMCAD (Denver). Windham received a Dean&rsquo;s fellowship while at RISD, and was nominated for the Joan Mitchell MFA Grant that same year. Residencies she has attended include The Select Fair Residency in 2014 (New York), The Chrysler Museum Glass Studio in 2013 (Norfolk, Virginia), TSKW in 2010 (Key West, Florida), Cascina Remondenca in 2009 (Chiaverano, Italy), and Penland in 2005 (Penland, North Carolina). Her work has been discussed in Hyperallergic, The New York Times, Whitewall Magazine, Her Royal Majesty, The Dinner Party and The Bangor Daily News.</span></em></p> <p style="text-align: justify;" dir="ltr"><em><span style="font-family: georgia, palatino; font-size: small;">Windham uses color and composition to organize collections of natural, commercial and industrial remnants into multi-disciplinary works which confer a sense of mysticism and ritual. Specific sets of objects (as varied as discarded dime bags, broken earbuds, mussel shells, feathers, floor sweepings and bound and recycled magazines) hold totemic powers: she is interested in the anthropological stories they tell. Over time, she accumulates these materials from such varied sources as sidewalks, the floors of other artist's studios, or from nature: these time-based collections are then used as components for assembled sculptures, or are photographed, printed, cut and manipulated for collages.</span></em></p> <p style="text-align: justify;" dir="ltr"><em><span style="font-family: georgia, palatino; font-size: small;">&nbsp;</span></em></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: small; line-height: 26px;">(All images courtesy of the author.)</span></p> Mon, 12 Jan 2015 13:01:09 +0000 http://www.artslant.com/cn/Articles/list http://www.artslant.com/cn/Articles/list 10 Mexican Artists to Watch in 2015 <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">Curator Rodrigo Campuzano, our man in Mexico City, selects the Mexican artists he thinks will make a big impact on the international scene in 2015.</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">&nbsp;</span></p> <p style="line-height: 26px; text-align: justify;"><strong><span style="font-family: georgia, palatino; font-size: medium;">1. Jose D&aacute;vila</span></strong></p> <p style="line-height: 26px;"><span style="font-family: georgia, palatino; font-size: medium;"><img style="display: block; margin-left: auto; margin-right: auto;" src="http://dbprng00ikc2j.cloudfront.net/userimages/101642/4cut/20150112000828-JoseDavila_02.jpg" alt="" /></span></p> <p style="line-height: 26px;"><span style="font-family: georgia, palatino; font-size: medium;"><img style="display: block; margin-left: auto; margin-right: auto;" src="http://dbprng00ikc2j.cloudfront.net/userimages/101642/4cut/20150112003440-JoseDavila.jpg" alt="" /></span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">Right before handing over the <a href="http://www.skny.com/" target="_blank">Sean Kelly Gallery</a> space in New York to Marina Abramovic, Jose D&aacute;vila presented <em>Lightness of Weight</em>, a charming exhibition featuring his soon-to-be-famous &ldquo;balance sculptures&rdquo; which are comprised of massive marble slabs held together by delicate ratchet straps. His iconic minimalistic approach to art was first brought to the world&rsquo;s attention with his cut-out photographs, which are currently on display at the <a href="http://www.mudam.lu/en/le-musee/" target="_blank">MUDAM Luxembourg Museum</a> as part of the <em>Art &amp; Me</em>&nbsp;exhibition. We can expect to see a lot more of D&aacute;vila&rsquo;s work popping up around the globe this coming year.</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">&nbsp;</span></p> <p style="line-height: 26px; text-align: justify;"><strong><span style="font-family: georgia, palatino; font-size: medium;">2. Amor Mu&ntilde;oz</span></strong></p> <p style="line-height: 26px;"><span style="font-family: georgia, palatino; font-size: medium;"> <img style="display: block; margin-left: auto; margin-right: auto;" src="http://dbprng00ikc2j.cloudfront.net/userimages/101642/4cut/20150112130604-Amor_Mu_oz_02.jpg" alt="" /></span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;"><img src="http://dbprng00ikc2j.cloudfront.net/userimages/101642/4cut/20150112130622-Amor_Mu_oz.jpg" alt="" />&nbsp;</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">Community, technology, performance, installation&mdash;these are all concepts associated with Amor Mu&ntilde;oz&rsquo;s deeply connecting work which was recently appraised with the <em>NEW FACE AWARD </em>at the 17th&nbsp;<a href="http://j-mediaarts.jp/?locale=en" target="_blank">Japan Media Arts Festival</a>. Always taking her work one step further, she recently participated in an international symposium at the Universidad Federal Do Rio de Janeiro, presenting a key element of her practice, which combines textile materials with electronic elements to further pursue interactivity with the viewer. Mu&ntilde;oz&rsquo;s work goes head-to-head with the times and it&rsquo;s surely going to be expanded into new territories in 2015.</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">&nbsp;</span></p> <p style="line-height: 26px; text-align: justify;"><strong><span style="font-family: georgia, palatino; font-size: medium;">3. Daniel Guzm&aacute;n</span></strong></p> <p style="line-height: 26px; text-align: justify;"><img style="font-family: georgia, palatino; font-size: medium;" src="http://dbprng00ikc2j.cloudfront.net/userimages/101642/4cut/20150112130659-Daniel_Guzman_02.jpg" alt="" /><img style="font-family: georgia, palatino; font-size: medium;" src="http://dbprng00ikc2j.cloudfront.net/userimages/101642/4cut/20150112130723-Daniel_Guzman.jpg" alt="" /></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">Wrapping up a busy 2014 with an artist-curated exhibition at <a href="http://www.dieresis.com/" target="_blank">Di&eacute;resis Galer&iacute;a</a> titled <em>La Llamada Del Dios Extra&ntilde;o&nbsp;</em>and a new solo exhibition at the <a href="http://www.artslant.com/lon/events/show/365985-chromosome-damage" target="_blank">Drawing Room</a> in London, Daniel Guzm&aacute;n isn&rsquo;t planning to take a break anytime soon. He's currently preparing a new line of work for his upcoming solo exhibition with <a href="http://www.artslant.com/ew/venues/show/38089-kurimanzutto-gallery" target="_blank">kurimanzutto</a>.&nbsp;This highly-anticipated show will mark the return to his home gallery since the critically acclaimed <em>My Generation&nbsp;</em>in 2009. Guzm&aacute;n is a mastermind when it comes to altering environments with his iconic and rebellious style, something that will surely be present in his future projects that also include a studio album with his rock &lsquo;n&rsquo; roll band Los Pellejos<em>.</em></span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;"><em>&nbsp;</em></span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;"><strong>4. Pedro Reyes</strong></span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;"><img src="http://dbprng00ikc2j.cloudfront.net/userimages/101642/4cut/20150112130805-PedroReyes.jpg" alt="" /><br /> No stranger to international headlines, multidisciplinary artist Pedro Reyes seems to be turning out critically acclaimed exhibitions one after another. Always portraying a hidden message, his work seems to push the boundaries between society and art, bending the lines of what an audience would normally expect to see, and even do, at an exhibition. Opened during Art Basel week at the <a href="http://www.artslant.com/mia/articles/show/41463" target="_blank">ICA Miami,</a> Pedro Reyes&rsquo; latest exhibition is an ongoing project named <a href="http://www.pedroreyes.net/sanatorium.php" target="_blank"><em>Sanatorium</em></a>&nbsp;which attempts to combine psychological theories with the concept of art through clever interactions between a group of artist-trained &ldquo;therapists&rdquo; and the audience. With new stage adaptations and interactive projects in mind, Reyes is definitely going to be seen throughout the year. &nbsp; </span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">&nbsp;</span></p> <p style="line-height: 26px; text-align: justify;"><strong><span style="font-family: georgia, palatino; font-size: medium;">5. Pia Camil&nbsp;</span></strong></p> <p style="line-height: 26px; text-align: center;"><span style="font-family: georgia, palatino; font-size: medium;"> &nbsp;<img src="http://dbprng00ikc2j.cloudfront.net/userimages/101642/4cut/20150112130828-PiaCamil.jpg" alt="" /></span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">The subtlety of Pia Camil&rsquo;s work is always refreshing, a trait that hasn&rsquo;t gone unnoticed by the art world in recent years. Only she can have the pleasure of being the first Mexican artist to have ever exhibited with LA's prestigious&nbsp;</span><span style="font-family: georgia, palatino; font-size: medium;">Blum &amp; Poe Gallery with&nbsp;</span><em style="font-family: georgia, palatino; font-size: medium;"><a href="http://www.artslant.com/la/events/show/344271-the-little-dog-laughed" target="_blank">The Little Dog Laughed</a>,&nbsp;</em><span style="font-family: georgia, palatino; font-size: medium;">featuring an exquisite display of her ceramic sculptures and curtains</span><em style="font-family: georgia, palatino; font-size: medium;">. </em><span style="font-family: georgia, palatino; font-size: medium;">After causing quite a buzz at the gallery&rsquo;s booth during Art Basel Miami, Camil&rsquo;s work is being swiftly picked up by collectors.</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">She is currently hard at work planning a site-specific installation at the Jumex Museum and a commissioned piece for Frieze Projects in New York which will be unveiled this May, both very ambitious projects that will surely elevate her international status.</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;"><span style="line-height: 26px;">&nbsp;</span></span></p> <p style="line-height: 26px; text-align: justify;"><strong><span style="font-family: georgia, palatino; font-size: medium;"><span style="line-height: 26px;">6. Carlos Santos</span></span></strong></p> <p style="line-height: 26px;"><span style="font-family: georgia, palatino; font-size: medium; text-align: justify;">&nbsp;</span><span style="font-family: georgia, palatino; font-size: medium;"><span style="line-height: 26px;"><img style="display: block; margin-left: auto; margin-right: auto;" src="http://dbprng00ikc2j.cloudfront.net/userimages/101642/4cut/20150112143054-CarlosSantos.jpg" alt="" /></span></span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;"><img src="http://dbprng00ikc2j.cloudfront.net/userimages/101642/4cut/20150112143113-CarlosSantos02.jpg" alt="" /><br /></span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">Following a very busy year with two group exhibitions&mdash;in Chicago and Mexico City&mdash;up-coming artist Carlos Santos is always ready to deliver extraordinary work that makes people take notice. Included in several renowned collections such as the <a href="http://fundacionjumex.org/" target="_blank">Jumex Collection</a>, Santos&rsquo; work is developing further into experimentation with bigger formats and new techniques such as intricate etchings that depict anatomical compositions on glass. The scale and intricacy of Santos&rsquo; projects has been a predominant factor in his appeal amongst institutions and collectors.</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">&nbsp;</span></p> <p style="line-height: 26px; text-align: justify;"><strong><span style="font-family: georgia, palatino; font-size: medium;">7. Sabino Guisu</span></strong></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;"><span style="text-align: center;"><img src="http://dbprng00ikc2j.cloudfront.net/userimages/101642/4cut/20150112143154-Sabino.jpg" alt="" /></span></span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">Exhibited in two art fairs in London and Miami towards the end of last year, Sabino Guisu is not looking to keep calm anytime soon. Currently, the artist is preparing a massive body of work&mdash;featuring his signature <em>smoke </em>pieces&mdash;as well as other sculptures and installations, for his first solo publication that will be released in the coming months. Having recently relocated to a gigantic new studio, Guisu is aware that scale makes his work more mesmerizing for audiences. We&rsquo;ll definitely be hearing a lot more about this artist in 2015 as he plans for&nbsp;his first solo exhibitions in Los Angeles and Australia respectively.&nbsp;</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">&nbsp;</span></p> <p style="line-height: 26px; text-align: justify;"><strong><span style="font-family: georgia, palatino; font-size: medium;">8. Nicol&aacute;s Guzm&aacute;n&nbsp;</span></strong></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;"><img src="http://dbprng00ikc2j.cloudfront.net/userimages/101642/4cut/20150112143256-Nicolas_Guzman.jpg" alt="" /></span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">Nicol&aacute;s Guzm&aacute;n is a key part of the new wave of Mexican painters getting noticed in the international art scene. Recently awarded the <a href="http://www.educationfair.nl/scholarship/show/fonca-scholarships/22" target="_blank">FONCA </a>scholarship, Mexico&rsquo;s most prestigious grant for emerging artists, Guzm&aacute;n is busy at work developing his project <em>Revenge and Seduction&mdash;</em>which will culminate in a solo show later this year. This exhibition will be accompanied by the presentation of his first independent publication including new works&mdash;his largest to date&mdash;featuring pieces of over 5 meters. Guzm&aacute;n is constantly delivering solid work that embodies a modern perspective in classical painting techniques; this standout element is something that always captivates and will surely be present in his future projects.</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">&nbsp;</span></p> <p style="line-height: 26px; text-align: justify;"><strong><span style="font-family: georgia, palatino; font-size: medium;">9. Katya Gardea Browne&nbsp;</span></strong></p> <p style="line-height: 26px;"><span style="font-family: georgia, palatino; font-size: medium;"><img style="display: block; margin-left: auto; margin-right: auto;" src="http://dbprng00ikc2j.cloudfront.net/userimages/101642/4cut/20150112143318-KatyaGardea.jpg" alt="" /></span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">Katya Gardea Browne is always keeping busy between projects in Mexico and Berlin and is living proof that keeping things simple can require incredible mastery. Currently featured in <em>[macro]biologies I: the biosphere&nbsp;</em>at the ArtLaboratory in Berlin and preparing for another group show at the <a href="http://www.kultur.bayer.de/de/homepage.aspx" target="_blank">Bayer Kulturhaus</a>,&nbsp;which will open on January 18, Gardea Browne is starting off the year impressively. Striving to incorporate new mediums into her impressive body of work, the artist has developed a unique voice that stands out within the Mexican art scene and is causing quite a stir overseas, receiving praise from institutes and collectors alike.&nbsp;</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">&nbsp;</span></p> <p style="line-height: 26px; text-align: justify;"><strong><span style="font-family: georgia, palatino; font-size: medium;">Edgar Flores (Saner)&nbsp;</span></strong></p> <p style="line-height: 26px;"><span style="font-family: georgia, palatino; font-size: medium;"><img style="display: block; margin-left: auto; margin-right: auto;" src="http://dbprng00ikc2j.cloudfront.net/userimages/101642/4cut/20150112143418-SANER.jpg" alt="" /></span></p> <p style="line-height: 26px;"><span style="font-family: georgia, palatino; font-size: medium;"><img style="display: block; margin-left: auto; margin-right: auto;" src="http://dbprng00ikc2j.cloudfront.net/userimages/101642/4cut/20150112143437-SANER02.jpg" alt="" /></span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">Chances are that Edgar Flores&mdash;better known as Saner&mdash;has graced your city with one of his characteristic murals that channel the classical muralist movement of Rivera, Orozco, and Siqueiros. Saner is busier than ever, having just opened his first solo gig in New York at Jonathan LeVine Gallery.</span><em style="font-family: georgia, palatino; font-size: medium;">&nbsp;</em><span style="font-family: georgia, palatino; font-size: medium;">After only days of being open to the public, the exhibition, titled&nbsp;</span><em style="font-family: georgia, palatino; font-size: medium;">Primitivo</em><span style="font-family: georgia, palatino; font-size: medium;">, has been gaining the attention of collectors such as the notorious Swizz Beatz who announced the incorporation of several pieces from the show into the Dean Collection. This year will surely be a busy one for Saner and it&rsquo;s worth keeping and eye out for his upcoming projects.</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">&nbsp;</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">&mdash;<a href="http://www.artslant.com/global/artists/show/385949-rodrigo-campuzano?tab=REVIEWS" target="_blank">Rodrigo Campuzano</a></span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">&nbsp;</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-size: x-small; font-family: georgia, palatino;">(Image at top: Pia Camil)</span></p> Mon, 12 Jan 2015 17:25:07 +0000 http://www.artslant.com/cn/Articles/list http://www.artslant.com/cn/Articles/list Exploring Art Dynasties <p style="line-height: 26px; text-align: justify;"><em><span style="font-family: georgia, palatino; font-size: medium;">How can we present entire Museum collections, acquired from different periods of time, different countries, and with different motives and aesthetics, in a way that makes them comprehensible for diverse audiences?&nbsp;</span></em><em><span style="font-family: georgia, palatino; font-size: medium;">The co-curators of a new exhibition in Israel write about their approach to tackling the permanent acquisitions at their institute, forging surprising new connections between works from different eras.&nbsp;</span></em></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">The collection of the Haifa Museum of Art was accumulated in two defining periods in the country's history: first, in the 1950s, and later in 1970s&mdash;two Postwar periods in Israel, which relate in art to the Israeli painting movement "Ofakim Hadashim" in the 1950s, and then to Israeli conceptual art and earth art of the 1970s.</span></p> <p style="line-height: 26px; text-align: center;"><span style="font-family: georgia, palatino; font-size: medium;"><img src="http://dbprng00ikc2j.cloudfront.net/userimages/101642/4cut/20150115120803-_Dynasties_Installation_view_2_Lena_Gomon.jpg" alt="" /></span></p> <p style="line-height: 26px; text-align: center;"><span style="font-size: x-small; font-family: georgia, palatino;"><em>&nbsp;</em><span style="text-align: left;"><em>Dynasties:</em> From the Haifa Museum of Art Collection;&nbsp;</span><span style="text-align: left;">Photo: Lena Gumon</span></span></p> <p style="line-height: 26px; text-align: justify;">&nbsp;</p> <p style="line-height: 26px; text-align: justify;"><span style="font-size: medium;"><span style="font-family: georgia, palatino;">In our research for the museum's current exhibition <em><a href="http://www.hma.org.il/Museum/Templates/showpage.asp?DBID=1&amp;TMID=841&amp;LNGID=1&amp;FID=1932">Dynasties</a></em>, we wanted to reconfigure works from the collection&nbsp;through the prism of dynastic artist-to-artist relationships; a prism that allows for the emergence of surprising and diverse connections between works from different eras and from different places. D</span><span style="font-family: georgia, palatino;">ynasties maintain different overlapping types of relationships: between teachers and students, familial kinship, mentoring, training, appropriation, resistance and criticism.&nbsp;</span></span></p> <p style="line-height: 26px; text-align: center;"><span style="font-size: medium;"><span style="font-family: georgia, palatino;"><img src="http://dbprng00ikc2j.cloudfront.net/userimages/101642/4cut/20150115120300-Naaman_Michal_detail.jpg" alt="" /></span></span></p> <p style="line-height: 26px; text-align: center;"><span style="font-family: georgia, palatino; font-size: x-small;">Michal Na&rsquo;aman,&nbsp;<span style="text-align: left;"><em>A Kid in Its Mother&rsquo;s Milk</em>, (detail)1997,&nbsp;</span><span style="text-align: left;">Oil and masking tape on canvas, two parts</span></span></p> <p style="line-height: 26px; text-align: center;"><span style="font-family: georgia, palatino; font-size: x-small;"><span style="text-align: left;">&nbsp;</span></span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-size: medium;"><span style="font-family: georgia, palatino;">We found that these connections between artists and artworks expose multi-layered narratives, raising issues concerning the accumulation of artistic biography, and speaking of traditions and lineage. Through our research, we were able to sketch affinities, comprising a kind of personal and collective family album of the artist; the lineages we chose to present attest to a genealogical succession of teachers and students whose works are part of the collection&mdash;Israeli artists and international artists, founders of art schools and the artists who studied in those institutions&mdash;that sometimes divert from the conventional historiography of Israel.&nbsp;</span><span style="font-family: georgia, palatino;">These alignments of connections and mutual influences are the ground from which all artworks emerge, and they naturally became the focal point of the exhibition, too.</span></span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">One example of such relations can be found in the work of Uri Gershuni, the son of Moshe Gershuni&mdash;a leading Israeli artist&mdash;whose work is also exhibited in the show. Over the years, the presence of Moshe, the father, had been apparent in Uri's works, by appropriating symbols and motifs that had become identified with Moshe Gershuni's work. In addition to this ongoing dialogue with his biological father, Gershuni's work also suggests a kinship to other, more ephemeral and conceptual fathers. In one of his photographic series, for example, Uri Gershuni traveled to Lacock village in southwest England, where he visited the home of William Henry Fox Talbot, one of the imaginary father figures of photography. In this journey, Uri Gershuni awakens the memory of Talbot, the absent father, through reenactment of the first photographs ever taken.</span></p> <p style="line-height: 26px; text-align: center;"><span style="font-family: georgia, palatino; font-size: medium;"><img src="http://dbprng00ikc2j.cloudfront.net/userimages/101642/4cut/20150115120407-Uri_Gershuni.jpeg" alt="" /></span></p> <p style="text-align: center;"><span style="font-family: georgia, palatino; font-size: x-small;">Uri Gershuni,&nbsp;Untitled, 1999, Color photograph</span></p> <p style="text-align: center;"><span style="font-family: georgia, palatino; font-size: x-small;">&nbsp;</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">A different example of kinship relations displayed in this exhibition, is that of Mike Kelley and Paul McCarthy's work&nbsp;<a href="http://vimeo.com/57293131" target="_blank"><em>Heidi</em></a>&nbsp;(itself a wild satirical take on a highly dysfunctional family) and a work by Israeli artist Roee Rosen. In essay Rosen wrote in Hebrew for <em>Studio</em> magazine in 1994, he was the first to critically introduce Kelley and McCarthy's work to Israeli audiences.</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">Rosen's work in the exhibition features different prominent male figures of Israeli art and culture, assembled together in a group photograph as bearded men (featured above).&nbsp;</span><span style="font-family: georgia, palatino; font-size: medium;">On the table in front of this group one can find not only books written by them, but also a childlike color sketch signed "Hillel"&mdash;Rosen's biological son.</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;"><img src="http://dbprng00ikc2j.cloudfront.net/userimages/101642/4cut/20150115121414-_Dynasties_Installation_view_3__Lena_Gomon.jpg" alt="" /></span></p> <p style="line-height: 26px; text-align: center;"><span style="font-family: georgia, palatino; font-size: x-small;">&nbsp;<em>&nbsp;<em>&nbsp;</em><em>Dynasties:</em>&nbsp;From the Haifa Museum of Art Collection</em>;&nbsp;Photo: Lena Gumon</span></p> <p style="line-height: 26px; text-align: center;"><span style="font-family: georgia, palatino; font-size: x-small;">&nbsp;</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">Another example of kinship connections can be found in the work of Avital Cnaani, a contemporary artist, who works mainly in sculpture and drawing, who is the granddaughter of Yechiel Shemi, a prominent figure in Israeli sculpture. In </span><em style="font-family: georgia, palatino; font-size: medium;">Dynasties</em><span style="font-family: georgia, palatino; font-size: medium;">, one can see the strong visual inclination between these two works. Both explore form and space, but their use of material&mdash;Formica in Cnaani's work, which recalls home furniture, and steel in Shemi's work, which resonates on labor (both lived in a kibbutz)&mdash;tells a story of a different time in Israel.&nbsp;</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">The exhibition at the <a href="http://www.hma.org.il/Museum/Templates/showpage.asp?DBID=1&amp;TMID=841&amp;LNGID=1&amp;FID=1932">Haifa Museum of Art</a> runs to July 25, 2015.</span></p> <p style="line-height: 26px; text-align: justify;">&nbsp;&nbsp;</p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">&mdash;Leah Abir and Orit Bulgaru</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">&nbsp;</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-size: x-small; font-family: georgia, palatino;">(Image on top: Roee Rosen,<strong style="text-align: left;">&nbsp;</strong><span style="text-align: left;"><em>Men in Israeli Culture (Bearded),</em> 2004,&nbsp;</span><span style="text-align: left;">Color photograph)</span></span></p> Fri, 16 Jan 2015 15:50:53 +0000 http://www.artslant.com/cn/Articles/list http://www.artslant.com/cn/Articles/list Celebrity Artists and Their Protégés at CFA's <em>You're Just Too Good To Be True</em> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">Hung salon style and packed to the brim for the opening, <em>You&rsquo;re Just Too Good To Be True</em> is Contemporary Fine Art&rsquo;s most attended show to date. Outside in the cold, a long queue snakes around the block, steam rising. Inside, in a sea of tortoiseshell glasses, camel hair coats, and variations-of-rouge lipstick, Berlin&rsquo;s art world glitterati coerce their way through the crowds and around the baby strollers that block the exits, entries, and quiet solitary corners of the rooms.</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;"> More artistic madhouse than pristine salon, the co-curated exhibition packs together 70 works of art by more than 40 artists curated from the classrooms of celebrity artist German photographer J&uuml;rgen Teller and Danish painter Tal Rosenheim a.k.a Tal R. Together the professors from the Academy of Fine Arts in Nuremberg and the Kunstakademie D&uuml;sseldorf, respectively, have co-curated a selection of their &ldquo;best in class.&rdquo; Fleshy, saturated, and mockingly honest, the bacchanal is a perfect aesthetic genealogical study of the professors&mdash;a thesis the masters need not type out.</span></p> <p style="line-height: 26px; text-align: center;"><img src="http://dbprng00ikc2j.cloudfront.net/userimages/32120/1dkh/20150109122307-2.jpg" alt="" /><span style="font-family: georgia, palatino; font-size: x-small;"><span style="text-align: left;">&nbsp;L</span><span style="text-align: left;">illy Urbat,&nbsp;</span><span style="text-align: left;"><em>Kloesse 3</em>, 2014, 53 x 73 cm</span></span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">J&uuml;rgen Teller&rsquo;s imagery is unmistakable for its overexposed look that blurs the boundary between commissioned portrait and candid camera. Often risqu&eacute; but always a brand of playful, Teller&rsquo;s influence is speckled throughout the exhibitions. Claidia Holzinger&rsquo;s <em>I&rsquo;ve got the look</em> and Lilly Urbat&rsquo;s <em>Kloesse 1&ndash;3</em> draw on the awkward language of the staged pose exposing the grotesque seams shrouded in &agrave; la mode pastel.</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;"><img src="http://dbprng00ikc2j.cloudfront.net/userimages/32120/1dkh/20150109122345-13.jpg" alt="" /></span></p> <p style="line-height: 26px; text-align: center;"><span style="font-family: georgia, palatino; font-size: x-small;">&nbsp;Tanja Ritterbex, <em>Shit happens</em>, 2013, Painted bronze, 30 x 28 x 12 cm</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">A combination of frenzied robust brushstrokes, found objects, and playful juxtapositions point to Tal R&rsquo;s artistic and curatorial eye. Large-format paintings fill the massive rooms. Sculptural moments bob at their center like disjointed creative happenings, islands of independent sculpture mingling and butting-up casually to gallery visitors. More than one visitor needs to step over <em>Shit Happens</em> as the crowd sways.</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;"><img src="http://dbprng00ikc2j.cloudfront.net/userimages/32120/1dkh/20150109122458-14.jpg" alt="" height="350" /><img src="http://dbprng00ikc2j.cloudfront.net/userimages/32120/1dkh/20150109122634-12.jpg" alt="" height="350" /></span></p> <p style="line-height: 8px; text-align: center;"><span style="font-family: georgia, palatino; font-size: x-small;">Left: Natasza Niedziolka, S<em>till life, Embroidery</em>, 2012, Embroidery on cotton, acrylic, cotton, metal yarn, 75 x 80 cm</span></p> <p style="line-height: 8px; text-align: center;"><span style="font-family: georgia, palatino; font-size: x-small;">Right: Fabian Kuntzch, <em>Ehec</em>, 2011, Oil, acrylic, lacquer on cotton, 160 x 130 cm</span></p> <p style="line-height: 8px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">&nbsp;</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">Natasza Niedziolka&rsquo;s knit works, each titled <em>Still Life. Yarn</em>, call traditional materials and uses into question, subverting fine art views with folk art gestures whilst sticking to a palette that is wholly contemporary and on-point. D&uuml;sseldorf-based artist Fabian Kuntzsch seems to embody the interventive streak in Tal R&rsquo;s work, expressed with the stark contrast of vertical and horizontal axes combined with chromatic clashes, as seen in works like <em>Ehec</em> and <em>Untitled (Ball 1)</em> and <em>Untitled (Ball 3)</em>. With <em>Scotland</em> the artist allows for the found object to interrupt the inherent rhythm, throwing the harmony off kilter and making the whole experience playful and light.</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">The exhibition, which spans both stories of the gallery, creates unmistakable formal and conceptual connections between the celebrity-artists&rsquo; work and their prot&eacute;g&eacute;s. Through the cross-referencing of the masters&rsquo; style and the echoes found in the works of their successors, an evolutionary narrative binds the experience of the otherwise almost overwhelming show.</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">More images from&nbsp;the exhibition:</span></p> <p style="line-height: 26px; text-align: center;"><span style="font-family: georgia, palatino; font-size: medium;"><img src="http://dbprng00ikc2j.cloudfront.net/userimages/32120/1dkh/20150109123102-8.jpg" alt="" /></span></p> <p style="line-height: 26px; text-align: center;"><span style="font-family: georgia, palatino; font-size: x-small;">Rear wall: Embroideries by Natasza Niedziolka&nbsp;</span></p> <p style="line-height: 26px; text-align: center;"><span style="font-family: georgia, palatino; font-size: medium;"><img src="http://dbprng00ikc2j.cloudfront.net/userimages/32120/1dkh/20150109123123-10.jpg" alt="" /></span></p> <p style="line-height: 26px; text-align: center;"><span style="font-family: georgia, palatino; font-size: medium;"><img src="http://dbprng00ikc2j.cloudfront.net/userimages/32120/1dkh/20150109123157-11.jpg" alt="" /></span></p> <p style="line-height: 26px; text-align: center;"><span style="font-family: georgia, palatino; font-size: medium;"><img src="http://dbprng00ikc2j.cloudfront.net/userimages/32120/1dkh/20150109123213-1.jpg" alt="" /></span></p> <p style="line-height: 26px; text-align: center;"><span style="font-family: georgia, palatino; font-size: x-small;">Jochen Goerlach, Installation view of collage works&nbsp;</span></p> <p style="line-height: 26px; text-align: center;"><span style="font-family: georgia, palatino; font-size: medium;"><img src="http://dbprng00ikc2j.cloudfront.net/userimages/32120/1dkh/20150109123229-6.jpg" alt="" /></span></p> <p style="line-height: 26px; text-align: center;"><span style="font-family: georgia, palatino; font-size: medium;"><span style="font-size: x-small;">Claidia Holzinger, <em>Fashion Portraits</em>, 2014, Photo mounted on forex, 3 motifs, Each 42 x 28 cm</span><br /></span></p> <p style="line-height: 26px; text-align: center;"><span style="font-family: georgia, palatino; font-size: medium;"><img src="http://dbprng00ikc2j.cloudfront.net/userimages/32120/1dkh/20150109123247-5.jpg" alt="" height="375" /><img src="http://dbprng00ikc2j.cloudfront.net/userimages/32120/1dkh/20150109123526-7.jpg" alt="" height="375" /></span></p> <p style="line-height: 8px; text-align: center;"><span style="font-family: georgia, palatino; font-size: x-small;">Left: Tom Krol, <em>Museo</em>, 2014, Oil on canvas, 190 x 170 cm</span></p> <p style="line-height: 8px; text-align: center;"><span style="font-family: georgia, palatino; font-size: medium;"><span style="font-size: x-small;">Right: Eun Kyung Kim,&nbsp;<em>Goddess</em>, Mixed media, 180 x 110 x 57 cm</span><br /></span></p> <p style="line-height: 8px; text-align: center;"><span style="font-family: georgia, palatino; font-size: medium;"><span style="font-size: x-small;">&nbsp;</span></span></p> <p style="line-height: 26px; text-align: center;"><span style="font-family: georgia, palatino; font-size: medium;"><img src="http://dbprng00ikc2j.cloudfront.net/userimages/32120/1dkh/20150109123321-3.jpg" alt="" height="400" /><img src="http://dbprng00ikc2j.cloudfront.net/userimages/32120/1dkh/20150109123342-4.jpg" alt="" height="400" /></span></p> <p style="line-height: 8px; text-align: center;"><span style="font-family: georgia, palatino; font-size: x-small;">Left: Ali und Jochen Altin und Goerlach,&nbsp;<em>Aktfotofix (Pop-Up-Studio)</em>, 2015, Mixed media, 100 x 200 x 208 cm</span></p> <p style="line-height: 8px; text-align: center;"><span style="font-family: georgia, palatino; font-size: medium;"><span style="font-size: x-small;">Right: Nils Bleibtreu, <em>Empty Drains</em>, 2014, Laquer, wood, metal, plastics, 168 x 78 x 109 cm</span><br /></span></p> <p style="line-height: 26px; text-align: center;"><span style="font-family: georgia, palatino; font-size: medium;">&nbsp;</span></p> <p style="line-height: 26px; text-align: left;"><span style="font-family: georgia, palatino; font-size: medium;">&mdash;<a href="http://www.artslant.com/global/artists/show/147418-nicole-rodr%C3%ADguez?tab=REVIEWS" target="_blank">Nicole Rodriguez</a></span></p> <p style="line-height: 26px; text-align: left;"><span style="font-family: georgia, palatino; font-size: medium;">&nbsp;</span></p> <p style="line-height: 26px; text-align: left;"><span style="font-family: georgia, palatino; font-size: medium;">(All images: Courtesy of the artists and Contemporary Fine Arts Berlin)</span></p> Fri, 09 Jan 2015 12:57:37 +0000 http://www.artslant.com/cn/Articles/list http://www.artslant.com/cn/Articles/list Paris Dispatches: Introducing ArtSlant's Georgia Fee Artist in Residence Brett Day Windham <p style="line-height: 26px; text-align: justify;" dir="ltr"><em style="font-family: georgia, palatino; font-size: medium;">Paris Dispatches is the blog of ArtSlant's Georgia Fee Artist in Residence, Brett Day Windham, who will be undertaking her residency in Paris during January and February 2015. She will be using the blog to share her process, work, and experience throughout the residency. You can find more information about ArtSlant's Georgia Fee Artist/Writer Residency&nbsp;<a href="http://www.artslant.com/par/articles/show/33747" target="_blank">here</a>.</em><span style="font-family: georgia, palatino; font-size: medium;"><br /></span></p> <p style="line-height: 26px; text-align: justify;" dir="ltr"><span style="font-family: georgia, palatino; font-size: medium;">&nbsp;</span></p> <p style="line-height: 26px; text-align: justify;" dir="ltr"><span style="font-family: georgia, palatino; font-size: medium;">For the Georgia Fee/ArtSlant Winter Residency, I have proposed a series of daily walks through Paris. Some walks are solitary. Other walks are collaborative, a duet that includes another artist, writer, musician, or critic. Found objects are collected while walking (the objects can be any discarded thing that catches the eye, like beachcombing in the city). These totems are saved; their shape, weight, and color then dictate an assembled sculpture. I have ideas about the final form these accumulated objects might take (initial ideas include a tapestry based on the French tradition) but I am open to the revelations of chance and serendipity. As with my last residency in South Brooklyn, &nbsp;the experience and the objects I find shape what the project becomes. This blog will map the path taken, record each collaborator, and include photographs from each walk. Photographs of all objects collected at the end of each walk will be included as well.</span><span style="font-family: georgia, palatino; font-size: medium;">�</span></p> <p style="line-height: 26px; text-align: justify;" dir="ltr"><span style="font-family: georgia, palatino; font-size: medium;">&nbsp;</span></p> <p style="line-height: 26px;" dir="ltr"><span style="font-family: georgia, palatino; font-size: medium;"><img style="display: block; margin-left: auto; margin-right: auto;" src="https://lh4.googleusercontent.com/ZkDsC9laIpn6Yx9rFYrEyhY1QhUNeDeE51KzYbHYSL5AYiyXuv7GhkvXaxCawOKkauVxCR-lBerC7ABzFvajJhiyARkQapWy2PIqzSXo7-1yk2C1BruEco8wsqmmxYccyA" alt="" width="624px;" height="416px;" /></span></p> <p style="text-align: center;"><span style="font-family: georgia, palatino; font-size: x-small;"><em>Tassels</em>, 2013, four months of accumulated strands in six colors, installations dimensions 11 x 17 x 7 feet</span></p> <p style="line-height: 26px; text-align: justify;">&nbsp;</p> <p style="line-height: 26px; text-align: justify;" dir="ltr"><span style="font-family: georgia, palatino; font-size: medium;">Recently, my work has evolved into this pattern of walking and collecting. Multiple projects have brought this practice into focus, evolving from a collect-one-object-a-day mantra into a much more disciplined and experimental pursuit. In the past I have used my findings to create alchemy machines, chemistry sets, and a giant rosary. I have pressed objects into books in Italy, tied them up into tassels in Denver, and most recently arranged them as an enormous mandala.</span></p> <p style="line-height: 26px; text-align: justify;" dir="ltr"><span style="font-family: georgia, palatino; font-size: medium;">&nbsp;</span></p> <p style="line-height: 26px; text-align: center;" dir="ltr"><span style="font-family: georgia, palatino; font-size: medium;"><img src="https://lh5.googleusercontent.com/zkEDMEYN5rLRmvGj_r5DsFlxJAE0iuSH7BKxfILAjxYz5KQIVsMVe279FsYew0mnMEarOwsVanMkvV-tsCZzVALbk5z8PId_cSSOyjbagvFDvIH_thOrH8TrJB0umJM4Rg" alt="" width="226px;" height="339px;" /><img src="https://lh5.googleusercontent.com/AU_Eo9RgGEzNlKuNOKA4Qlu5yxsbCPfrTsdq99JJgZzZ-m67bYNdcxTZtiEOHYfoQhgdN9_GtC3Z9m9t-A-oTSHbx3EL-XTHV_Y4kTwePcQ2sHs9wdy93yh46Fmg7-AFbg" alt="" width="225px;" height="339px;" /></span></p> <p style="line-height: 15px; text-align: justify;" dir="ltr"><span style="font-family: georgia, palatino; font-size: x-small;">Left: <em>Theater of The Incompetent Alchemist</em> (Detail), 2009, Milk Crates, Wood, Paint, Glass, Vinyl Tubing, Gold Leaf, Garbage, Gumball Machine. 48 x 48 x 48 &nbsp;in</span></p> <p style="line-height: 15px; text-align: justify;" dir="ltr"><span style="font-family: georgia, palatino; font-size: x-small;">Right: <em>Automaton</em>, 2012, Hand&shy;cut magazine collage on board, 30 x 20 inches. On frequent walks, I collect discarded glossy magazines, abstracting and reimagining their accumulated contents. These collages inform and inspire my three&shy;-dimensional work.</span></p> <p style="line-height: 26px; text-align: justify;">&nbsp;</p> <p style="line-height: 26px; text-align: justify;" dir="ltr"><span style="font-family: georgia, palatino; font-size: medium;">The mandala at the top of this post (with me sitting in the center) was created in April 2014 at the Select Residency at Industry City in Sunset Park, Brooklyn. I began the residency with daily walks in Sunset Park, but soon became so intrigued by the neighborhood that I wanted to include friends, colleagues, and artists in the experience. I invited these people to walk with me; they dictated a place to meet. Each walk ended at my studio, but everything in between was left up to chance. I discovered that involving other creative people really strengthened my own sense of the project. We collected objects to bring back and add to the installation. The dialogue between the objects intensified as I explored the many communities of South Brooklyn: they told me stories of nationality, language, economics and loss. For example, we found a cast-off yarmulke in an Orthodox Jewish neighborhood, foam sleeves for shipping pears in the Chinese neighborhood, vintage reggae records near the freeway, and an acid green feather at the gothic revival gates to Green-Wood Cemetery (where an improbable flock of wild parrots makes their home).</span></p> <p style="line-height: 26px; text-align: justify;" dir="ltr"><span style="font-family: georgia, palatino; font-size: medium;">&nbsp;</span></p> <p style="line-height: 26px;" dir="ltr"><span style="font-family: georgia, palatino; font-size: medium;"><img style="display: block; margin-left: auto; margin-right: auto;" src="https://lh5.googleusercontent.com/3nH8YJ4Wn9XV7Vn7hBNkQOR1dAoctFBjeGGcn4Vtt_cUsbfMlnb7EuiSENmbblFhiggpOuLKcUCTZw3-4HFoBaRGCx3ngzBWKZobzgQpDqjM18CY5KFEWLex3kVCNAqnbQ" alt="Cypher (detail) Sunset Selects Project" width="624px;" height="468px;" /></span></p> <p style="line-height: 26px; text-align: center;" dir="ltr"><span style="font-family: georgia, palatino; font-size: x-small;"><em>Cypher (Sunset Park)</em>, 2014, One month of accumulated objects from South Brooklyn, 12 x 12 feet</span></p> <p style="line-height: 26px; text-align: justify;">&nbsp;</p> <p style="line-height: 26px; text-align: justify;" dir="ltr"><span style="font-family: georgia, palatino; font-size: medium;">Thus, the project began to assert its anthropological content, and the incredible colors dictated their own color wheel&mdash;creating the circular shape of the installation. The <a href="http://selectfair.tumblr.com/" target="_blank">detailed blog</a> I kept for that residency&nbsp;became a way to map and document the character of each walk, discuss the time I spent with each guest walker, and include a photograph of what was found. I also created a suite of collages from the photographs I took.</span></p> <p style="line-height: 26px; text-align: justify;" dir="ltr"><span style="font-family: georgia, palatino; font-size: medium;">&nbsp;</span></p> <p style="line-height: 26px;" dir="ltr"><span style="font-family: georgia, palatino; font-size: medium;"><img style="display: block; margin-left: auto; margin-right: auto;" src="https://lh6.googleusercontent.com/zzwYwogRqFIQen0jKa5l3Ou7Oa2L4Nk1UQb7cOIpHapIx3wxknEqoMu7teGL-H252VytnhwD2mi4Dftc05yXtqTe1r9_Yvm2DtVpz0RRu4Zrhii-oFrbZifj1iW3cpz6uA" alt="" width="624px;" height="416px;" /></span></p> <p style="line-height: 26px; text-align: center;" dir="ltr"><span style="font-family: georgia, palatino; font-size: x-small;"><em>Rosary</em>, 2008&ndash;13, 5 years of objects accumulated one-per-day, string is 100 feet long, dimensions variable</span></p> <p style="line-height: 26px; text-align: center;"><span style="font-size: x-small;">&nbsp;</span></p> <p style="line-height: 26px; text-align: justify;" dir="ltr"><span style="font-family: georgia, palatino; font-size: medium;">Travel and exposure to other cultures has proven to be a vital source of inspiration, opening up my definitions of drawing, installation, conceptualism, and social practice. As I continue this series of installations comprised of objects collected on durational walks in different cities, I can't think of a better place to work than Paris. It is a perfect match for this project&mdash;not only for it&rsquo;s beauty, but also for the city's intrinsic relationship with walking as an aesthetic practice. One important reference for me is the rich history of the fl&acirc;neur, the leisurely strolling dandy, as a "modern" late 19th century citizen.&nbsp;</span></p> <p style="line-height: 26px; text-align: justify;" dir="ltr"><span style="font-family: georgia, palatino; font-size: medium;">Specifically, I think of Walter Benjamin&rsquo;s legendary <a href="http://monoskop.org/images/e/e4/Benjamin_Walter_The_Arcades_Project.pdf" target="_blank">Arcades Project</a>: a taxonomy of anecdotes organized around the poetry of Charles Baudelaire, identifying the fin-de-si&egrave;cle Parisian Arcades as the site of commodification and as evidence of modern times. Benjamin positions the Arcades as the ultimate haunt for this Parisian fl&acirc;neur. As a contemporary woman, I am interested in the contradictions and surprises my walking will reveal.</span>&nbsp;</p> <p style="line-height: 26px; text-align: justify;" dir="ltr">&nbsp;</p> <p style="line-height: 26px;" dir="ltr"><span style="font-family: georgia, palatino; font-size: medium;"><img style="display: block; margin-left: auto; margin-right: auto;" src="https://lh4.googleusercontent.com/O0ki-EKJ0xpWlii62MG8bUm7NyZfq3NgAkbibKdB2xxDEqNu6Zol6QxruKaTs0sV5wNUH-ikKUZPmsPxAq3NY4NfiWC8Gsluu2C6faz95Z4tWcpj6Hp-O0nG5JqbdqRK9g" alt="Verdigris Triptych" width="624px;" height="285px;" /></span></p> <p style="line-height: 26px; text-align: center;" dir="ltr"><span style="font-family: georgia, palatino; font-size: x-small;"><em>Verdigris Triptych</em>, 2012, Collage on illustration board, 30 x 66 inches</span></p> <p style="line-height: 26px; text-align: justify;" dir="ltr"><span style="font-family: georgia, palatino; font-size: medium;">&nbsp;</span></p> <p style="line-height: 26px; text-align: justify;" dir="ltr"><span style="font-family: georgia, palatino; font-size: medium;">Walking through Paris collecting small objects for an installation and resurrecting the specter of the fl&acirc;neur will serve as my aesthetic anthropological study, and as a survey of what a community accumulates and abandons. I am interested equally in the arcades, the alleyways, the cracks in the sidewalk, and the magic that comes from the unexpected discoveries therein.</span>&nbsp;</p> <p style="line-height: 26px; text-align: justify;" dir="ltr">&nbsp;</p> <p style="line-height: 26px; text-align: justify;" dir="ltr"><span style="font-family: georgia, palatino; font-size: medium;">&mdash;<a href="http://www.artslant.com/global/artists/show/213864-brett-day-windham" target="_blank">Brett Day Windham</a></span></p> <p style="line-height: 26px; text-align: justify;" dir="ltr"><em><span style="font-family: georgia, palatino; font-size: small;">&nbsp;</span></em><span style="font-size: 12px;">&nbsp;</span></p> <p style="text-align: justify;" dir="ltr"><em><span style="font-family: georgia, palatino; font-size: small;"><a href="http://brettdaywindham.com/" target="_blank">Brett Day Windham </a>(born Cambridge, England, raised Providence, Rhode Island) is a multidisciplinary artist working with sculpture, installation and collage. She received a BFA from Hampshire College and an MFA in Sculpture from RISD. Her work has been included in shows around the US, including The Chace Center at the RISD Museum (Providence), Tompkins Projects West (Los Angeles), Cave (Detroit), Lu Magnus (NY), Brooklyn Fireproof (NY), Gallery Project (Ann Arbor), 808 Gallery (Boston), Sams&oslash;n Projects (Boston), University of Maine Museum of Art (Bangor), and RMCAD (Denver). Windham received a Dean&rsquo;s fellowship while at RISD, and was nominated for the Joan Mitchell MFA Grant that same year. Residencies she has attended include The Select Fair Residency in 2014 (New York), The Chrysler Museum Glass Studio in 2013 (Norfolk, Virginia), TSKW in 2010 (Key West, Florida), Cascina Remondenca in 2009 (Chiaverano, Italy), and Penland in 2005 (Penland, North Carolina). Her work has been discussed in Hyperallergic, The New York Times, Whitewall Magazine, Her Royal Majesty, The Dinner Party and The Bangor Daily News.</span></em></p> <p style="text-align: justify;" dir="ltr"><em><span style="font-family: georgia, palatino; font-size: small;">Windham uses color and composition to organize collections of natural, commercial and industrial remnants into multi-disciplinary works which confer a sense of mysticism and ritual. Specific sets of objects (as varied as discarded dime bags, broken earbuds, mussel shells, feathers, floor sweepings and bound and recycled magazines) hold totemic powers: she is interested in the anthropological stories they tell. Over time, she accumulates these materials from such varied sources as sidewalks, the floors of other artist's studios, or from nature: these time-based collections are then used as components for assembled sculptures, or are photographed, printed, cut and manipulated for collages.</span></em></p> <p style="line-height: 26px; text-align: justify;" dir="ltr">&nbsp;</p> <p style="line-height: 26px; text-align: justify;" dir="ltr"><span style="font-family: georgia, palatino; font-size: x-small;">(Image at top:&nbsp;<em>Cypher (Sunset Park)</em>, 2014, One month of accumulated objects from South Brooklyn, 12 x 12 feet)</span></p> Fri, 23 Jan 2015 09:14:09 +0000 http://www.artslant.com/cn/Articles/list http://www.artslant.com/cn/Articles/list Je Suis Charlie: The World Mourns for Freedom of Expression <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">Alongside our peers around the world, we were deeply shocked and saddened at the news of the <em>Charlie Hebdo</em> tragedy in which ten journalists plus two police officers lost their lives as they sat down for their weekly editorial meeting on Wednesday.</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">The weekly satirical publication, a stalwart advocate of freedom of expression and of left-wing pluralism, is known in particular for its irreverent cartoons and send-ups of religious leaders. This was the second terrorist attack the magazine has suffered since it relaunched in 1992.&nbsp;</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">The sadness comes not only from the pointless loss of life and suffering, and the assault on the rights to work peacefully and to freedom of expression; it also a huge blow to the terribly fragile relations between the West and religious extremists&mdash;the chance of living in a more harmonious world in which we can all communicate without violence seems desperately far away this week. But the values of <em>Charlie Hebdo</em> will continue to be asserted around the world, as artists, editors and journalists unite to respond to the massacre in words and pictures with the line "Je Suis Charlie." Vigils for the victims are taking place across France and around the world.</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">Here are some of Charlie Hebdo's most acerbic covers, with their strident message of humor over hate.</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;"><strong>UPDATE:</strong> Charlie Hebdo will publish next week, saying "Stupidity will not win". They plan a circulation of one million copies, compared to their weekly 60k run, and have cut the length of the periodical in half to 8 pages.</span></p> <p style="line-height: 26px; text-align: center;"><span style="font-family: georgia, palatino; font-size: medium;">&nbsp;</span></p> <p style="line-height: 26px;"><span style="font-family: georgia, palatino; font-size: medium;"><img style="display: block; margin-left: auto; margin-right: auto;" src="http://dbprng00ikc2j.cloudfront.net/userimages/101642/4cut/20150108150148-charlie-hebdo-03.jpg" alt="" /></span></p> <p style="text-align: center;"><em><span style="font-family: georgia, palatino; font-size: medium;">Racists Have Small Dicks, Obviously</span></em></p> <p style="line-height: 26px; text-align: center;"><span style="font-family: georgia, palatino; font-size: medium;"><img src="http://dbprng00ikc2j.cloudfront.net/userimages/101642/4cut/20150108150212-charlie-hebdo-cover-paris-shooting-010.jpg" alt="" /></span></p> <p style="line-height: 26px; text-align: center;"><em><span style="font-family: georgia, palatino; font-size: medium;">The Socialist Party Has Chosen its Cleaning Lady&nbsp;</span></em></p> <p style="line-height: 26px; text-align: center;"><span style="font-family: georgia, palatino; font-size: medium;"><img src="http://dbprng00ikc2j.cloudfront.net/userimages/101642/4cut/20150108150228-charlie-hebdo-cover-paris-shooting-012.jpg" alt="" /></span></p> <p style="text-align: center;"><span style="font-family: georgia, palatino; font-size: medium;"><em>Irresponsible Journal: The Invention of Humour: Oil, Fire</em></span></p> <p style="line-height: 26px; text-align: center;"><span style="text-align: left;"><img src="http://dbprng00ikc2j.cloudfront.net/userimages/101642/4cut/20150108150245-Charlie-Hebdo-Covers-03.jpg" alt="" /></span></p> <p style="text-align: center;"><em><span style="font-family: georgia, palatino; font-size: medium;">Love Stronger Than Hate &nbsp;</span></em></p> <p style="text-align: center;">&nbsp;<img src="http://dbprng00ikc2j.cloudfront.net/userimages/101642/4cut/20150108150340-le-pape-nabilla-ise.jpg" alt="" /></p> <p style="text-align: center;"><em><span style="font-family: georgia, palatino; font-size: medium;">&nbsp;A Modern Pope</span></em></p> <p style="text-align: center;"><img src="http://dbprng00ikc2j.cloudfront.net/userimages/101642/4cut/20150108150535-charlie-hebdo.jpg" alt="" /><span style="text-align: left;">&nbsp;</span></p> <p style="text-align: center;"><em><span style="font-family: georgia, palatino; font-size: medium;">Zlatan Taxed to 75%</span></em></p> <p><span style="font-family: georgia, palatino; font-size: medium;">&nbsp;</span></p> <p><span style="font-family: georgia, palatino; font-size: medium;">&mdash;The ArtSlant Team</span></p> <p><span style="font-family: georgia, palatino; font-size: medium;">&nbsp;</span></p> <p><span style="font-family: georgia, palatino; font-size: x-small;">(Image at top: Latuff for&nbsp;<em>Middle East Monitor</em>, 2015; All other images courtesy:&nbsp;<em>Charlie Hebdo</em>)</span></p> Mon, 12 Jan 2015 20:03:51 +0000 http://www.artslant.com/cn/Articles/list http://www.artslant.com/cn/Articles/list Vacant Vice: Freeman & Lowe's Ace Hotel Installation <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">The basement of the Ace Hotel is filling up with leggy females and men with manicured facial hair. It&rsquo;s not a big room, but the black lights on the dimpled white walls make it seem expansive. The DJ is spinning something that seems like the sonic equivalent to the end of an acid trip as the fog machines get fired up and the bar opens for business.</span><span style="font-family: georgia, palatino; font-size: medium;">&nbsp;</span></p> <p style="line-height: 26px; text-align: justify;"><img src="http://dbprng00ikc2j.cloudfront.net/userimages/32120/1dkh/20150108122413-MaxSerotaJan2014AceHotel-57.jpg" alt="" /></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">I&rsquo;ve been to a few immersive installations created by Jonah Freeman and&nbsp;</span><span style="font-family: georgia, palatino; font-size: medium;">Justin Lowe.</span><span style="font-family: georgia, palatino; font-size: medium;">&nbsp;None have ever been as grand and glorious as the first one, </span><em style="font-family: georgia, palatino; font-size: medium;">Hello Meth Lab in the Sun, </em><span style="font-family: georgia, palatino; font-size: medium;">which was truly eruptive. Back then you had to sign a waiver before entering. It felt dangerous because it </span><em style="font-family: georgia, palatino; font-size: medium;">was</em><span style="font-family: georgia, palatino; font-size: medium;"> dangerous. This feels like city-sanctioned graffiti. It might be cool, but it&rsquo;s losing its edge.</span></p> <p style="line-height: 26px; text-align: center;"><span style="font-family: georgia, palatino; font-size: medium;"><img src="http://dbprng00ikc2j.cloudfront.net/userimages/32120/1dkh/20150108121524-MaxSerotaJan2014AceHotel-10.jpg" alt="" width="325" /><img src="http://dbprng00ikc2j.cloudfront.net/userimages/32120/1dkh/20150108121813-MaxSerotaJan2014AceHotel-11.jpg" alt="" width="325" /></span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">And the props are becoming familiar. Picasso grade turpentine sits on a shelf with made-up books like "Entertainment Rehabilitation" by the Cambridge Ritualist, Arthur B. Cook. There's a hardcore lesbian sex scene, done in airbrush on a t-shirt, displayed on a lady manikin in the closet. Over by the bar a periodical rack that has a bunch of issues of <em>Artichoke Underground</em>&nbsp;magazine, the artists' invented fanzine, and if you pick one up you&rsquo;ll be firmly asked to put it back down.</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;"><img src="http://dbprng00ikc2j.cloudfront.net/userimages/32120/1dkh/20150108122631-MaxSerotaJan2014AceHotel-6.jpg" alt="" /></span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">This is all part of a <a href="http://www.acehotel.com/calendar/newyork/nyc-inherent-vice-exhibition-and-soundtrack" target="_blank">PR blitz</a> for Paul Thomas Anderson&rsquo;s film adaptation of Thomas Pynchon&rsquo;s beach-read crime-comedy, <em>Inherent Vice. </em>When that book came out I sat in my apartment on Canal Street and read it cover to cover. I went through an eighth of weed and enough Adderall to spin the eyes on a donkey that day. I remember chuckling a lot, because Pynchon cracks some silly jokes, but there is little in this art installation that aspires to Pynchon&rsquo;s cartoony humor, though there is plenty of sub cultural name bending.&nbsp;</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;"><img src="http://dbprng00ikc2j.cloudfront.net/userimages/32120/1dkh/20150108121428-MaxSerotaJan2014AceHotel-49.jpg" alt="" /></span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">&ldquo;There is some really clever lighting,&rdquo; I say to a woman beside me, &ldquo;the bookshelf in particular is spectacularly lit.&rdquo; She nods, sips her drink. I continue, &ldquo;It reminds me of something James Turrell or Doug Wheeler might try.&rdquo; She looks into her beverage and fingers one of her large rings. I ask, &ldquo;Have you read <em>Inherent Vice?</em>&rdquo; She then says something in French and I realize she doesn&rsquo;t understand a word coming out of my mouth.</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;"><img src="http://dbprng00ikc2j.cloudfront.net/userimages/32120/1dkh/20150108121119-MaxSerota-75-_Performance.jpg" alt="" /></span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">A little over an hour into this event the Psychic Ills turn on their instruments and start building a soundscape with droning guitars. The keyboard player and the drummer create a little pocket of rhythm that the bass player soon slides into and suddenly the whole band is careening forward, propelled by their own energy as the crowd starts to sway and bob like a bunch of underwater plants.</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;"><img src="http://dbprng00ikc2j.cloudfront.net/userimages/32120/1dkh/20150108122611-MaxSerotaJan2014AceHotel-47.jpg" alt="" /></span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">Somehow the warbling guitar takes me back to Canal Street and the book that inspired all this. I start wondering about the all connections: about a big Hollywood corporation like Warner Bros. in cahoots with a hip hotel chain like Ace in cahoots with a major NY art gallery like Marlborough. In Pynchon land the less subversive something seems, the more subversive it probably is. But what&rsquo;s really at stake here? Is there a point to all this beyond spreading the word about an upcoming film? How is the novelist connected to the director connected to the artists? Have the artists even read the novel? Has the director seen the art? My date tells me to chill, to get another beer, and to enjoy the show.&nbsp;</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">&nbsp;</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">&mdash;<a href="http://www.artslant.com/global/artists/show/5828-charlie-schultz?tab=REVIEWS" target="_blank">Charlie Schultz</a></span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">&nbsp;</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: x-small;">(All photographs: <a href="http://www.maxserota.com/#photography" target="_blank">Max Serota</a>)</span></p> Thu, 08 Jan 2015 14:27:15 +0000 http://www.artslant.com/cn/Articles/list http://www.artslant.com/cn/Articles/list 10 Latin American Art Exhibitions to See in 2015 <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">In 2015, museums, galleries and other art spaces will be packed with Latin American art. The global art world is increasingly interested in the southern continent, where solo and group shows of Latin American artists are more and more common. Not only artists from Latin America, but also ones from Africa and Southeast Asia have slowly started to exhibit, publish, and exert more influence in the international circuits. However, one should ask, why do such categories matter? Can </span><em style="font-family: georgia, palatino; font-size: medium;">Latin American Art</em><span style="font-family: georgia, palatino; font-size: medium;"> be called instead </span><em style="font-family: georgia, palatino; font-size: medium;">Arte desde Am&eacute;rica Latina</em><span style="font-family: georgia, palatino; font-size: medium;">, as Gerardo Mosquera suggests?</span><a style="font-family: georgia, palatino; font-size: medium;" title="" href="#_ftn1">[1]</a></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">As do many other nationalist constructs, the term &ldquo;Latin American&rdquo; binds differences while failing to constitute a solid identity. As a Uruguayan-Israeli living in Chicago, I wonder if I am identified as a Latin American because I am not American? Or because I speak Spanish and like soccer? Of course, the questions or answers should not be that simple. There is a long colonial history behind our&mdash;that is, Latin Americans&mdash;neurotic identity, and even the notions of Latin America and Ibero-America have always been very problematic. Do they include the Anglophone Caribbean and Dutch? And the Chicanos? Do they include indigenous people who sometimes do not speak European languages?</span><span style="font-family: georgia, palatino; font-size: medium;">&nbsp;</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">Despite being a large region with unique differences and subtle complexities, Latin American states do share certain characteristics. For the most part, Latin American states have failed to provide security and therefore their legitimacy falls into question. We can talk about the weakness of the Latin American state and the political violence in the region. But can we generalize in such a way about Latin American art or is such a generalization an essentialist perspective? I understand Latin America, first and foremost, as a methodological category that helps us organize information. I hope that my selection of 2015 Latin American art exhibitions around the globe will give a glimpse to the changing and questionable category.</span><span style="font-family: georgia, palatino; font-size: medium;">&nbsp;</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">In order of opening date:</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">&nbsp;</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;"><strong>1. </strong><a href="https://www.perrotin.com/exhibition-jesus_rafael_soto-2721.html" target="_blank"><strong>Jes&uacute;s Rafael Soto<em>&nbsp;Chronochrome</em></strong><strong>,&nbsp;Galerie Perrotin,</strong></a><strong> New York and Paris </strong></span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;"><strong><img src="http://dbprng00ikc2j.cloudfront.net/userimages/32120/1dkh/20150106185445-01._Jesus_Rafael_Soto.jpg" alt="" /></strong></span></p> <p style="line-height: 26px; text-align: center;"><span style="font-family: georgia, palatino; font-size: x-small; line-height: 15px;">Jes&uacute;s Rafael Soto, <em>P&eacute;n&eacute;trable BBL bleu</em>, 1999, Edition Avila (Succession Soto) 2007, PVC, metal, Edition of 8, 12 x 33 x 15.4 feet &copy; Jes&uacute;s Rafael Soto / Artists Rights Society (ARS), New York/ADAGP, Paris, 2015. Courtesy Galerie Perrotin</span></p> <p style="line-height: 26px; text-align: center;"><span style="font-family: georgia, palatino; font-size: x-small; line-height: 15px;">&nbsp;</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">Opens: January 10 (Paris) and January 15 (New York)</span><span style="font-family: georgia, palatino; font-size: medium;">&nbsp;</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">Galerie Perrotin presents a double exhibition on the Venezuelan artist Jes&uacute;s Rafael Soto (1923-2005) held simultaneously in Paris and New York. The show includes a large body of the artist&rsquo;s work made between 1957 and 2003. Soto had a major retrospective at the Mus&eacute;e National d&rsquo;Art Moderne &ndash; Centre Pompidou in 2013, and a major installation, <em>P&eacute;n&eacute;trable de Chicago</em>, at the Art Institute of Chicago in 2014.</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">&nbsp;</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;"><strong>2. </strong><a href="http://three-walls.org/exhibition/jaime-davidovich-outreach-1974-1984-curated-daniel-quiles/" target="_blank"><strong><em>Jaime Davidovich: Outreach 1974-</em></strong><strong><em>1984</em>, Threewalls</strong></a><strong>, Chicago</strong></span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;"><strong><img src="http://dbprng00ikc2j.cloudfront.net/userimages/32120/1dkh/20150106185841-02._Jaime_Davidovich_.jpg" alt="" /></strong></span></p> <p style="line-height: 15px; text-align: center;"><span style="font-family: georgia, palatino; font-size: x-small; line-height: 15px;">Jaime Davidovich, <em>Museum of Television Culture</em>, 1982. Courtesy of the artist and Henrique Faria, New York</span></p> <p style="line-height: 15px; text-align: center;"><span style="font-family: georgia, palatino; font-size: medium; text-align: justify;">&nbsp;</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">Opens: January 23</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">Who doesn&rsquo;t like TV? This exhibition features the unusual and overlooked medium: broadcast television. Over the course of the six-week exhibition, there will be three television programs by Argentine conceptual artist and television-art pioneer, Jaime Davidovich. Known for his Manhattan cable program <em>The Live! Show</em>, Davidovich creates interactive performances inspired by Dada and anarchist humor.</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">&nbsp;</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;"><strong>3. </strong><a href="http://www2.mcachicago.org/exhibition/doris-salcedo/" target="_blank"><strong><em>Doris Salcedo</em></strong><strong>, MCA</strong></a><strong>, Chicago </strong></span></p> <p style="line-height: 26px; text-align: center;"><span style="font-family: georgia, palatino; font-size: medium;"><strong><img src="http://dbprng00ikc2j.cloudfront.net/userimages/32120/1dkh/20150106185930-03._Doris_Salcedo.jpg" alt="" /></strong></span></p> <p style="line-height: 26px; text-align: center;"><span style="font-family: georgia, palatino; font-size: x-small; line-height: 15px;">Doris Salcedo, <em>Untitled</em>, 1998. Photo: David Heald. Collection of Lisa and John Miller, fractional and promised gift to the San Francisco Museum of Modern Art. Courtesy of the artist, Alexander and Bonin, New York, and White Cube</span></p> <p style="line-height: 26px; text-align: center;"><span style="font-family: georgia, palatino; font-size: x-small; line-height: 15px;">&nbsp;</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">Opens: February 21.</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">In the 2014, the MCA showed an exhibition about <a href="http://www2.mcachicago.org/exhibition/unbound-contemporary-art-after-frida-kahlo/" target="_blank">Frida Khalo</a> and her influence on contemporary artists. This year it presents the high anticipated first retrospective of the Colombian artist, Doris Salcedo. The exhibition features 30 years of the Salcedo&rsquo;s sculptures, some never before seen, as well as her newest body of work. The exhibition travels to the Guggenheim in New York, June 26&ndash;October 14, 2015.</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">&nbsp;</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;"><strong>4. </strong><a href="http://www.malba.org.ar/evento/programacion-2015/" target="_blank"><strong><em>Memorias Imborrables: Una mirada hist&oacute;rica a la Colecci&oacute;n Videobrasil</em></strong><strong>, MALBA</strong></a>,&nbsp;<strong>Buenos Aires</strong></span></p> <p style="line-height: 26px; text-align: center;"><span style="font-family: georgia, palatino; font-size: medium;"><strong><img src="http://dbprng00ikc2j.cloudfront.net/userimages/32120/1dkh/20150106190236-04._Memorias_Imborrables__Coco_Fusco__.jpg" alt="" /></strong></span></p> <p style="line-height: 26px; text-align: center;"><span style="font-family: georgia, palatino; font-size: x-small; line-height: 15px;">Coco Fusco, <em>Bare Life Study #1</em>, 2005, Performance registered in video. Courtesy of Colecci&oacute;n Videobrasil</span></p> <p style="line-height: 26px; text-align: center;"><span style="font-family: georgia, palatino; font-size: x-small; line-height: 15px;">&nbsp;</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium; text-align: justify;">Opens: March 20</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;"><em>Memorias Imborrables </em>(Unerasable Memories) is a historical perspective on the <a href="http://site.videobrasil.org.br/en/" target="_blank">Videobrasil Collection</a>. It reviews controversial, contentious historical and political events such as the discovery of Brazil by the Portuguese, the military coup in Chile, and the 9/11 terrorist attacks and is based on the personal vision of artists from Brazil and other countries included in the Collection. Artists include: Jonathas de Andrade, Carlos Motta, Rosangela Renn&oacute;, Akram Zaatari, Coco Fusco and Le&oacute;n Ferrari.</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">&nbsp;</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;"><strong>5. <em>La Menesunda </em>and <em>Materia</em>, Museo de Arte Moderno (MAMBA), Buenos Aires</strong></span></p> <p style="line-height: 26px; text-align: center;"><span style="font-family: georgia, palatino; font-size: medium;"><strong><img src="http://dbprng00ikc2j.cloudfront.net/userimages/32120/1dkh/20150106190357-05._Marta_Minuj_n_en_La_Menesunda.jpg" alt="" /></strong></span></p> <p style="line-height: 26px; text-align: center;"><span style="font-family: georgia, palatino; font-size: x-small;">Marta Minuj&iacute;n inside <em>La Menesunda</em>, 1965</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">Opens: March</span><span style="font-family: georgia, palatino; font-size: medium;">&nbsp;</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">MAMBA will host the recreation of Marta Minuj&iacute;n&rsquo;s <em>La Menesunda</em>, her emblematic installation originally realized together with Rub&eacute;n Santanton&iacute;n at the Instituto Di Tella in 1965. Also the exhibition <em>Materia</em> (Matter), with works by Alberto Greco, Kenneth Kemble, Emilio Renart, Aldo Paparella, and other artists who will look to the art of the 1960s and the problems of material in Argentine art.</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">&nbsp;</span></p> <h2 style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">6. <a href="http://press.moma.org/2014/04/latin-america-in-construction/" target="_blank"><em>Latin America in Construction: Architecture 1955-1980</em>, MoMA</a>, New York</span></h2> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;"><strong><img src="http://dbprng00ikc2j.cloudfront.net/userimages/32120/1dkh/20150106190456-06._Latin_American_in_Construction.jpg" alt="" /><br /></strong></span></p> <p style="line-height: 26px; text-align: center;"><span style="font-family: georgia, palatino; font-size: x-small; line-height: 15px;">Affonso Eduardo Reidy, Museum of Modern Art of Rio de Janeiro (MAM), Rio de Janeiro, Brazil, 1934-1947. &copy; N&uacute;cleo de Documenta&ccedil;&atilde;o e Pesquisa &ndash; Faculdade de Arquitetura e Urbanismo da Universidade Federal do Rio de Janeiro</span></p> <p style="line-height: 26px; text-align: center;">&nbsp;</p> <p style="text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium; line-height: 26px;">Opens: March 29 </span></p> <p style="text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium; line-height: 26px;"> This exhibition explores and questions the notion of Latin America as a landscape of development. It features architectural drawings, architectural models, vintage photographs, and film clips from most of the countries of Latin America. This major survey revisits a previous 1955 MoMA exhibitions titled Latin American Architecture since 1945. In 2014, MoMA had a major retrospective of the Brazilian artist Lygia Clark.&nbsp;</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">&nbsp;</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;"><strong>7. </strong><a href="http://www.guggenheim.org/guggenheim-foundation/collaborations/map/latinamerica" target="_blank"><strong><em>Under the Same Sun: Art from Latin America Today</em></strong><strong>, Museu de Arte Moderna (MAM),</strong></a><strong> S&atilde;o Paulo</strong></span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;"><img src="http://dbprng00ikc2j.cloudfront.net/userimages/32120/1dkh/20150107122431-07._Under_the_Same_Sun__Prieto_Walk_.jpg" alt="" /></span></p> <p style="text-align: center;"><span style="font-family: georgia, palatino; font-size: x-small; line-height: 15px;">Wilfredo Prieto,&nbsp;<em>Walk,</em>&nbsp;2000.&nbsp;Plant, soil, photograph, and wheelbarrow, overall dimensions variable.&nbsp;Solomon R. Guggenheim Museum, New York, Guggenheim UBS MAP Purchase Fund. Courtesy the artist and NoguerasBlanchard, Barcelona/Madrid</span></p> <p style="text-align: center;"><span style="font-family: georgia, palatino; font-size: x-small;">&nbsp;</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">Opens: April</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">The pivotal exhibition <em>Under the Same Sun: Art from Latin America Today</em>, part of the Guggenheim UBS Map Global Art Initiative, will travel to the Museu de Arte Moderna (MAM) in S&atilde;o Paulo in April and the Museo Jumex in Mexico City autumn next year. The exhibition features works by 40 artists, among them the duo Allora and Calzadilla, Tania Bruguera, Wilfredo Prieto, Luis Camnitzer, Marta Minujin, Gabriel Orozco, and Amalia Pica.</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">&nbsp;</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;"><strong>8. </strong><a href="http://www.moma.org/visit/calendar/exhibitions/1482" target="_blank"><strong><em>From Bauhaus to Buenos Aires: Grete Stern and Horacio Coppola</em></strong><strong>, MoMA</strong></a><strong>, New York</strong>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;</span></p> <p style="line-height: 26px;"><span style="font-family: georgia, palatino; font-size: medium;"><strong><img style="display: block; margin-left: auto; margin-right: auto;" src="http://dbprng00ikc2j.cloudfront.net/userimages/32120/1dkh/20150106190840-08._From_Bauhaus_to_Buenos_Aires__Coppola_.jpg" alt="" /></strong></span></p> <p style="line-height: 26px; text-align: center;"><span style="font-family: georgia, palatino; font-size: x-small; line-height: 15px;">Horacio Coppola,&nbsp;<em>Buenos Aires,</em>&nbsp;1936, Gelatin silver print, Latin American and Caribbean Fund. &copy; &nbsp;Galer&iacute;a Jorge Mara-La Ruche/The Estate of Horacio Coppola</span></p> <p style="line-height: 26px; text-align: center;"><span style="font-family: georgia, palatino; font-size: x-small; line-height: 15px;">&nbsp;</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">Opens: May 17</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">This major exhibition focuses on the Argentine photographer and filmmaker Horacio Coppola (1906-2012) and his first wife, the German Grete Stern (1904-1999), representatives of the avant-garde photography of the 1930s. In Germany, between the wars, Coppola studied in Berlin in the Photography Department of the Bauhaus where he met Stern, who was also studying there.</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">&nbsp;</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;"><strong>9. <em>Joaqu&iacute;n Torres-Garc&iacute;a</em>, MoMA, New York</strong></span></p> <p style="line-height: 26px; text-align: center;"><span style="font-family: georgia, palatino; font-size: medium;"><strong><img src="http://dbprng00ikc2j.cloudfront.net/userimages/32120/1dkh/20150106191253-09._Joaqu_n_Torres_Garc_a_-_Am_rica_Invertida.jpg" alt="" /></strong></span></p> <p style="line-height: 26px; text-align: center;"><span style="font-family: georgia, palatino; font-size: x-small; line-height: 15px;">Joaqu&iacute;n Torres-Garc&iacute;a, <em>Am&eacute;rica invertida</em>, 1943, drawing, Museo Juan Manuel Blanes, Montevideo</span></p> <p style="line-height: 26px; text-align: center;"><span style="font-family: georgia, palatino; font-size: x-small; line-height: 15px;">&nbsp;</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">Opens: October 25</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">Another important Latin American presence at the MoMA. The Uruguayan artist Joaqu&iacute;n Torres-Garc&iacute;a (1874-1949) is considered the father of Latin American Constructivism. This retrospective includes drawings, paintings, objects, sculptures and original artist notebooks and publications. His famous inverted map of South America has become an icon for Latin American art: &ldquo;I have said School of the South; because in reality, our north is the South. There must not be north, for us, except in opposition to our South. Therefore we now turn the map upside down, and then we have a true idea of our position, and not as the rest of the world wishes. The point of America, from now on, forever, insistently points to the South, our north.&rdquo;</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">&nbsp;</span><span style="font-family: georgia, palatino; font-size: medium;">&nbsp;</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;"><strong>10. <em>The Responsive Eye</em>, El Museo del Barrio, New York </strong></span></p> <p style="line-height: 26px; text-align: center;"><span style="font-family: georgia, palatino; font-size: medium;"><strong><img src="http://dbprng00ikc2j.cloudfront.net/userimages/32120/1dkh/20150106191342-10._The_Responsive_Eye__MOMA_.jpg" alt="" /></strong></span></p> <p style="line-height: 26px; text-align: center;"><span style="font-size: x-small;"><span style="font-family: georgia, palatino;">Installation view, <em>The&nbsp;Responsive Eye</em>, February 25, 1965&ndash;April 25, 1965.&nbsp;</span><span style="font-family: georgia, palatino; line-height: 15px;">Photograph &copy; 1999 The Museum of Modern Art, New York</span></span></p> <p style="line-height: 26px; text-align: center;"><span style="font-size: x-small;"><span style="font-family: georgia, palatino; line-height: 15px;">&nbsp;</span></span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">Opens: November</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">El Museo del Barrio will add a Latin American twist to an important 1965 exhibition that first opened at the MoMA, New York. The director of El Museo plans to recreate a new version of <em>The Responsive Eye</em> that focused on Op Art, this time including Latin American masters, like Carlos Cruz-Diez and Julio Le Parc.</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">&nbsp;</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">&mdash;<a href="http://www.artslant.com/global/artists/show/171869-ionit-behar?tab=REVIEWS" target="_blank">Ionit Behar</a></span></p> <div style="line-height: 26px; text-align: justify;"><br clear="all" /><hr style="line-height: 26px; text-align: justify;" align="left" size="1" width="33%" /> <div style="line-height: 26px; text-align: justify;"> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: small;"><a title="" href="#_ftnref1">[1]</a> Gerardo Mosquera, &ldquo;Del arte latinoamericano al arte desde Am&eacute;rica Latina,&rdquo; in <em>Caminar con el Diablo: Textos sobre arte, internacionalismo y culturas</em> (Madrid: EXIT Publications, 2010), pp. 123&ndash;33.</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: small;">&nbsp;</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: x-small;">(Image at top:&nbsp;Marta Minuj&iacute;n,&nbsp;<em>Statue of Liberty Laid Down 1 (with Public Watching)&nbsp;</em>(<em>Estatua de la Libertad acostada I (con p&uacute;blico que la mira),</em>&nbsp;1979.&nbsp;Ink on vellum, 31 1/2 x 43 1/2 inches.&nbsp;Solomon R. Guggenheim Museum, New York, Guggenheim UBS MAP Purchase Fund.&nbsp;Courtesy the artist and Henrique Faria Fine Art, New York. Photo: Glenn Castellano)</span></p> </div> </div> Tue, 13 Jan 2015 23:19:51 +0000 http://www.artslant.com/cn/Articles/list http://www.artslant.com/cn/Articles/list Collecting as Collaboration: Launch Pad Brings Artists Directly into Collector Sarah Elson's Home <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;"><a href="http://launchpadart.org/" target="_blank">Launch Pad</a> was founded in London in early 2014. It is described as a commissioning program intended to serve as a platform for emerging artists who have not previously exhibited in the UK. Three artists per year are invited to create a new work that responds to the domestic space, history, or environment of the founder&rsquo;s home. The founder is Sarah Elson, an art historian and seasoned art collector as well as an active philanthropist.</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">The project sounds simple enough: publicly accessible art displays in the private home, lead by artists, curators or independent gallerists have become commonplace. Recently, fueled by the investment boom in art, private collectors started opening their homes for public visits or even building museums to house their vast collections of, on average, 2,000 works or more. Collector&rsquo;s exhibition spaces, coined <a href="http://www.theguardian.com/artanddesign/2010/jul/11/modern-art-collectors-private-museum" target="_blank">ego-seums</a>, are increasingly competing in scale and visible presence, but not always in quality with public institutions.</span></p> <p style="line-height: 26px; text-align: center;"><span style="font-family: georgia, palatino; font-size: medium;"><img src="http://dbprng00ikc2j.cloudfront.net/userimages/32120/1dkh/20150106175537-Foullon-Choker.jpg" alt="" /></span></p> <p style="line-height: 26px; text-align: center;"><span style="font-family: georgia, palatino; font-size: x-small;">Rachel Foullon,&nbsp;<em>Choker</em>, 2014, Painted steel and fabric bow, Site-specific commission for the home of Launch Pad founder, Sarah Elson. Courtesy of Launch Pad</span></p> <p style="line-height: 26px; text-align: center;"><span style="font-family: georgia, palatino; font-size: x-small;">&nbsp;</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">However, despite the large numbers of works in relatively few collections worldwide, the production of new art has become precarious since 2008, due to a lack of sales for younger, less established contemporary art and a focus on &ldquo;safe bets&rdquo; rather than speculative investments in experimental or new tendencies. The overheated art market increasingly eschews younger artists' works as well as new media pieces. At the same time, the closure of alarming numbers of independent and smaller gallery spaces dedicated to younger contemporary art and the ongoing depletion of government and charitable funds for public institutions indicates the decline of support platforms for new art. Much deplored as the situation has been by artists and curators, so far collectors seemed to be on the other side of that debate.</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">So I was curious that a well-networked and highly regarded collector of contemporary art and art patron would choose to conceptualize the way she collects by creating a modest scale project based on an open cooperation with relatively unknown contemporary artists. Rather the opposite to an &ldquo;ego-seum,&rdquo; it strikes me as a considered reaction by a collector to an accelerated and directionless art market today. Sarah Elson has been collecting internationally established and new contemporary art for over a decade. She is also and continues to be an active patron and trustee of many public art institutions and charitable organizations dedicated to contemporary art.&nbsp; So I was astounded that she decided to change the way she was collecting to a more narrowly defined format, limited to just three projects and emerging art&mdash;and, more importantly, open to public scrutiny. &nbsp;</span></p> <p style="line-height: 26px; text-align: justify;"><img src="http://dbprng00ikc2j.cloudfront.net/userimages/32120/1dkh/20150106180119-DSC_1585.jpg" alt="" /></p> <p style="line-height: 26px; text-align: center;"><span style="font-family: georgia, palatino; font-size: x-small;">Josh Faught,&nbsp;<em>The Mauve Decade</em>, 2014,&nbsp;Site-specific commission for the home of Launch Pad founder, Sarah Elson. Courtesy of Launch Pad</span></p> <p style="line-height: 26px; text-align: center;"><span style="font-family: georgia, palatino; font-size: x-small;">&nbsp;</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">I went to visit Launch Pad to talk to Elson, its founder and driving force, in her Holland Park home, which houses the commissioned projects as well as parts of her own collection. I asked what motivated her to define collecting for herself in a structured way.</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">Her very honest reply was that she felt she had been collecting arbitrarily over the years, without advocating a specific direction or style. She expressed the view that this form of collecting lacked purpose, as the choices were merely circumstantial, and that she is now looking for more substance in her interaction with art. When I asked her whether the current overheated art market had been influencing her decision, she speculated that she found the breadth of offers at art fairs internationally overwhelming, "scary" and too "testosterone fueled." </span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">I find Elson&rsquo;s frankness refreshing. It comes from an educated woman who has been able to make her mark with an enviable network in the international art scene in London and New York. She has been very consistent in supporting women in the arts without making this the sole message of her endeavors. It sends a strong message to the busy auction and fair businesses, that some collectors are becoming exasperated by the search for content in an increasingly surface and price obsessed market. Interestingly, Elson also points out a little discussed fact that the top end of the market is often male-dominated despite the strong numbers of women contributing to the arts.</span></p> <p style="line-height: 26px; text-align: center;"><span style="font-family: georgia, palatino; font-size: medium;"><img src="http://dbprng00ikc2j.cloudfront.net/userimages/32120/1dkh/20150106181008-photo-2.jpg" alt="" /></span></p> <p style="line-height: 26px; text-align: center;"><span style="font-family: georgia, palatino; font-size: x-small;">Suse Weber,&nbsp;<em>Formula: Marionette</em>, 2014, A variable site-specific installation for the home of Launch Pad founder, Sarah Elson. Courtesy of Launch Pad</span></p> <p style="line-height: 26px; text-align: center;"><span style="font-family: georgia, palatino; font-size: x-small;">&nbsp;</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">I asked how she would define her role within the art market now. Her emphatic response was that she was seeking a far more close connection to the artists directly. By becoming more involved looking for a human connection with art and artist rather than trading over the artist&rsquo;s head for investment&rsquo;s sake. She also conceptually fixes resources to maximize the effect in the commissioning process and allow the artist and herself more enjoyment. The artist is offered complete freedom to create, while Sarah Elson literally accepts any result as part of an open ongoing process. She admits with a smile that she is aware that open-ended processes may not end at all or the result may not be to her liking. It is a risk she is willing to take for a more personal involvement. </span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">The commissioned artist is invited to stay in her home as a personal guest for a time, a commitment to dialogue and engagement, which goes well beyond a businesslike transaction and poses a personal challenge both to Elson and her family in their home as well as to the visiting artist. By being closely involved and following the artist&rsquo;s process of creating the commission, she experiences the art process directly and occasionally becomes part of it. The completed works are integrated in the architecture of the Victorian conversion, occasionally responding directly to the site or the history of the house. Craftmanship in the making process is something that subconsciously comes into play with the artists Elson chooses, a response to a current trend as much as a reflection of her personal interest.</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">A final question was how Elson envisages her relationship with the artists she launches evolving in future. She admits she has not yet fully defined this, although she intends to remain actively connected with all her Launch Pad artists. She is also planning to inspire other collectors in her network to open further Launch Pads, as a kind of viral project. Currently a project in New York is in discussion.</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">Elson is not alone in this trend of collectors becoming direct patrons and seeking to actively define personally compatible ways to connect with art, artists, and art organizations. As a response to the era of the art supermarket and online proliferation, collectors alongside artists and cultural producers are seeking more intimate and personal interactions with contemporary art.</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">&nbsp;</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">&mdash;<a href="http://www.artslant.com/global/artists/show/409489-bea-de-sousa" target="_blank">Bea de Sousa</a></span></p> <p style="line-height: 26px; text-align: justify;"><em><span style="font-family: georgia, palatino; font-size: medium;">&nbsp;</span></em></p> <p style="line-height: 26px; text-align: justify;"><em><span style="font-family: georgia, palatino; font-size: medium;">The next <a href="http://launchpadart.org/" target="_blank">Launch Pad</a> project is open from January 26&ndash;February 1, 2015.</span></em></p> <p style="line-height: 26px; text-align: justify;"><em><span style="font-family: georgia, palatino; font-size: medium;">Latest Commission:&nbsp; The Old Boys Club (aka Katya Bonnenfant) &ldquo;L&rsquo;esprit d&rsquo;escalier et autres tracas&rdquo;</span></em></p> <p style="line-height: 26px; text-align: justify;"><em><span style="font-family: georgia, palatino; font-size: medium;">Access: daily 12-6pm by appointment only</span></em></p> <p style="line-height: 26px; text-align: justify;"><em><span style="font-family: georgia, palatino; font-size: medium;">Contact: <a href="mailto:info@launchpad.org">info@launchpad.org</a> to book viewings</span></em></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">&nbsp;</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-size: x-small;"><span style="font-family: georgia, palatino;">(Image at top: </span><span style="text-align: left; font-family: georgia, palatino;">Josh Faught (front), Suse Weber (rear), Installation View, 2014; Courtesy of Launch Pad)</span></span></p> Tue, 06 Jan 2015 18:19:46 +0000 http://www.artslant.com/cn/Articles/list http://www.artslant.com/cn/Articles/list Life in the Anthropocene: Environmental Exhibitions for the Human Epoch <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">I go back and forth between feeling like Anthropocene is a buzzword for contemporary hysteria&mdash;our generation's equivalent to the Cold War&mdash;and recognizing it as a practical reality. Either way it is the nexus point between published facts and our dogged consumerist lifestyles: we live in the&nbsp;</span><a style="font-family: georgia, palatino; font-size: medium;" href="http://time.com/3035872/sixth-great-extinction/" target="_blank">6th Great Extinction</a><span style="font-family: georgia, palatino; font-size: medium;">, yet guzzle gas and consume plastic with aplomb. Responding to an&nbsp;</span><a style="font-family: georgia, palatino; font-size: medium;" href="http://www.artinamericamagazine.com/news-features/magazine/art-for-the-anthropocene-era/" target="_blank">already lush rubric of 2013 exhibitions</a><span style="font-family: georgia, palatino; font-size: medium;">, several 2014 shows explored ecocritical themes, as will a number of presentations in the coming year, all composing vivid curatorial landscapes that challenge our historical approach to the material world.&nbsp;</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;"><img src="http://dbprng00ikc2j.cloudfront.net/userimages/32120/1dkh/20150106124945-pdt-parreno-141.jpg" alt="" /></span></p> <p style="line-height: 26px; text-align: center;"><span style="font-family: georgia, palatino; font-size: x-small;">Philippe Parreno, <em>Anywhere, Anywhere, Out Of The World</em>, Exhibition view at Palais de Tokyo, 2013. Photo: Aur&eacute;lien Mole</span></p> <p style="line-height: 26px; text-align: center;"><span style="font-family: georgia, palatino; font-size: x-small;">&nbsp;</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">Perhaps that's why <a href="http://palaisdetokyo.com/en/exhibitions/anywhere-anywhere-out-world" target="_blank">Philippe Parreno&rsquo;s 2013 exhibition</a>&nbsp;left such an impression when I caught the tail end of it in January 2014. Parreno gutted the Palais de Tokyo, creating a surreal, interactive environment that conveyed an end-times-feeling. A few months later Angelika Markul installed her three-part exhibition,<a href="http://palaisdetokyo.com/en/exhibition/terre-de-depart-land-departure" target="_blank"><em>&nbsp;</em><em>Terre de d&eacute;part</em><em>&nbsp;</em>(<em>L</em><em>and of Departure)</em></a><em>&nbsp;</em>in the same museum&rsquo;s ground floor space, where she set a white stage for a large video screen. The platform extended to support a set of white debris: pipes that looked like they may once have been used in a playground swing set. On screen she projected footage from Chernobyl where the camera pans around, capturing a too-still forest punctuated occasionally by abandoned buildings. Everything feels frozen in time&mdash;a feeling I remembered when reading that trees in Chernobyl don&rsquo;t decompose; <a href="http://www.smithsonianmag.com/science-nature/forests-around-chernobyl-arent-decaying-properly-180950075/?no-ist" target="_blank">latent radiation prevent fungi, microbes, and certain insects that would otherwise turn fallen trunks into dirt</a>. An adjacent room in Markul&rsquo;s exhibit opened up on the artist&rsquo;s two-channel projection of twin backwards flowing waterfalls. They flickered cast light over Markul's surrounding installation&mdash;hard to see in the dark, reading nevertheless like a pile of dead and inert bodies washed up in an oil slick. In her final video a <em>2001</em>-like telescope shifts with robotic grace, presumably to see the sky beyond the human eye.</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;"><img src="http://dbprng00ikc2j.cloudfront.net/userimages/32120/1dkh/20150106130515-On_Landscape_install_01_overview_72.jpg" alt="" /></span></p> <p style="line-height: 26px; text-align: center;"><span style="font-family: georgia, palatino; font-size: x-small;">On Landscape Projects,&nbsp;<em>On Landscape</em>, Installation view at Guest Projects, London, 2014. Photo courtesy of artists</span></p> <p style="line-height: 26px; text-align: center;"><span style="font-family: georgia, palatino; font-size: x-small;">&nbsp;</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">In London a group of artists installed their self-titled exhibition&nbsp;<a href="http://www.guestprojects.com/programme/on-landscape/" target="_blank"><em>On Landscape</em></a>, featuring a library of artist books dedicated to landscape representation. I found the artist collective on&nbsp;<a href="https://twitter.com/onlandscape" target="_blank">twitter</a>, following a feed of photos that capture interactions between natural (nonhuman) and unnatural (human) elements. <em>On Landscape</em>&rsquo;s examples corrode the traditional delineation between nature and culture, favoring the blurred and reciprocal conversation that emerges between skyscrapers and plants instead. The landscape is a hybrid,&nbsp;like the newly discovered rock, &ldquo;<a href="http://daily.jstor.org/plastic-rock-marks-the-presence-of-humans-in-the-fossil-record/" target="_blank">plastiglomerate</a>,&rdquo;&mdash;composed of plastic particles washed up on the beach, sand, and volcanic rock, the material gloms together from beach campfires, and signifies plastic&rsquo;s new geological presence. Perhaps it's better to explore the potential in these blending, collapsing borders than mourn the dissolve of a bygone ideology dedicated to some pure Alpine vista.</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;"><img src="http://dbprng00ikc2j.cloudfront.net/userimages/32120/1dkh/20150106130621-Screen_Shot_2015-01-06_at_1.33.13_PM.png" alt="" /><br /></span></p> <p style="line-height: 26px; text-align: center;"><span style="font-family: georgia, palatino; font-size: x-small;">Greg Stimac,&nbsp;<em>Santa Fe to Billings,&nbsp;</em>2009, Archival pigment print, from <em>Phantoms in the Dirt.</em>&nbsp;&copy; Collection of Museum of Contemporary Photography, 2009.347</span></p> <p style="line-height: 26px; text-align: center;"><span style="font-family: georgia, palatino; font-size: medium; text-align: justify;">&nbsp;</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">Nicolas Bourriaud curated the 2014 Taipei Biennial; he called it&nbsp;<em>The Great Acceleration</em>, citing that more robots use the internet on a daily basis than human beings. During an interview he asks,&nbsp;<a href="http://artreview.com/features/aw_2014_ara_nicolas_bourriaud_taipei_biennial/" target="_blank">&ldquo;If we takes the anthropocene as a hypothesis, how does it transform our vision of the world? Is there still such a thing as a direct interhuman relation?&rdquo;</a>&nbsp;Fifty-two artists and collectives appeared. And let's not forget&nbsp;<a href="http://www.artslant.com/chi/articles/show/40356" target="_blank"><em>Phantoms in the Dirt</em></a>, an ambitious group exhibition curated by Karsten Lund at the Museum of Contemporary Photography in Chicago. Or the group show in Paris curated by Anne Bonnin,&nbsp;<a href="http://slash-paris.com/evenements/humainnonhumain-une-proposition-danne-bonnin" target="_blank"><em>Humainonhumain</em></a><em>,&nbsp;</em>who claims it is the body, first,&nbsp;&nbsp;&ldquo;that is...affected by nonhuman reality.&rdquo; In Berlin, Haus der Kulturen der Welt organized the first meeting of their multidisciplinary&nbsp;<a href="http://www.hkw.de/en/programm/projekte/2014/anthropozaenprojekt_ein_bericht/anthropozaen_ein_bericht.php" target="_blank">Anthropocene Working Group</a>&nbsp;to suss out the consequence of our time, and was&nbsp;covered by the&nbsp;<a href="http://www.usnews.com/news/articles/2014/10/17/anthropocene-welcome-to-the-age-of-humans" target="_blank"><em>USNews</em></a>. I didn't go but was given the publication afterwards&mdash;a heavy bound booklet.</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;"><img src="http://dbprng00ikc2j.cloudfront.net/userimages/32120/1dkh/20150106131117-adam_avikainen_csi_department_of_natural_resources_02_imgsize_buehne.jpg" alt="" /></span></p> <p style="line-height: 26px; text-align: center;"><span style="font-family: georgia, palatino; font-size: x-small;">Adam Avikainen, <em>CSI Department of Natural Resources</em>, 2014, from HKW's Anthropocene Working Group. Courtesy and copyright the artist</span></p> <p style="line-height: 26px; text-align: center;"><span style="font-family: georgia, palatino; font-size: x-small;">&nbsp;</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">There is so much to read.&nbsp;<a href="http://blackdogonline.com/all-books/in-the-aura-of-a-hole.html" target="_blank"><em>In The Aura of a Hole</em></a><em>,&nbsp;</em>A. Laurie Palmer&rsquo;s decade-long research project about material and how it moves in and out of networks (personal/economic/ecological). It sits on my shelf beside Naomi Klein&rsquo;s&nbsp;<em>Shock Doctrine</em>&mdash;both books that reinforce the intersection of ecology and capitalism. They remind me again of Parreno. What will the future hold?</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">In San Francisco, Robert Zhao Renhui (author of a 2013 <a href="http://sea.blouinartinfo.com/news/story/983140/robert-zhaos-a-guide-to-the-flora-and-fauna-of-the-world"><em>Guide to Flora and Fauna of the World</em></a> featuring man-made/modified plants and animals) installed his homage to easily dismissed insect encounters in&nbsp;<a href="http://kadist.org/en/programs/all/2083"><em>Flies Prefer Yellow</em></a>. Nearby,&nbsp;<a href="http://www.ybca.org/landscape"><em>Landscape: the virtual, the actual, the possible?</em></a>&nbsp;at the Yerba Buena Center for the Arts, an exhibition that connects Californian utopic ideologies with Silicon Valley and the Pearl River Delta region in China, where most of the world&rsquo;s electronic products are produced, in order to reflect on the intersection between nature and technology. Green Peace jumped in also, erroneously&nbsp;<a href="http://www.slate.com/blogs/future_tense/2014/12/16/drone_footage_shows_what_greenpeace_did_to_peru_s_nazca_site.html">installing their logo beside the ancient Nazca Lines in Peru</a>, (itself an early sign of human's ability to leave a footprint).&nbsp;Despite all that, my daily routine seems the same, suggesting some surreal dream state in which all signs suggest a change in consumer patterns are in order, without the embodied action to do so; as uncanny as&nbsp;<a href="http://www.nytimes.com/2014/12/28/sports/camel-racing-in-the-united-arab-emirates-is-a-blend-of-centuries-old-traditions-and-modern-technology.html?_r=0">robots racing camels in lieu of human jockeys</a>.</span></p> <p style="line-height: 15px; text-align: center;"><img src="http://dbprng00ikc2j.cloudfront.net/userimages/32120/1dkh/20150106133440-comic-altamira-08_0.jpg" alt="" /></p> <p style="text-align: center;"><span style="font-family: georgia, palatino; font-size: x-small;">Marcus Gruber, The Art of Hunting Mammoths: Altamira Cave,&nbsp;<a href="http://www.environmentandsociety.org/blog/anthropocene-milestones-no-1-altamira-cave-marcus-gruber" target="_blank">Anthropocene Milestones No. 1</a></span></p> <p style="text-align: center;"><span style="font-family: georgia, palatino; font-size: x-small;">Father - "Son, what's taking you so long! The mammoths won't wait for us!"</span></p> <p style="text-align: center;"><span style="font-family: georgia, palatino; font-size: x-small;">Son - "I think I would rather be an artist."</span></p> <p style="line-height: 15px; text-align: center;"><span style="font-size: x-small; font-family: georgia, palatino;">&nbsp;</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">Future curatorial endeavors continue to chew on the subject. Claiming to be &ldquo;the first major exhibition in the world to look at an issue that will be decisive for the future,&rdquo; <em>Welcome to the Anthropocene</em>&nbsp;opened at the Deutsches Museum this past December and will occupy over 4,500 square feet of museum until January 2016. Included in DM&rsquo;s exhibition programming is a series of <a href="http://www.deutsches-museum.de/en/collections/entdecken/comics/anthropocene-comics/" target="_blank">30 Anthropocene-comics</a>&nbsp;(pictured above) and a virtual online corollary to the show. In the Netherlands, BAK announced a &ldquo;research exhibition and discursive environment,&rdquo; called the <a href="http://www.bak-utrecht.nl/en/Program/AnthropoceneObservatory?parent=Program%2FCurrentUpcoming" target="_blank"><em>Anthropocene Observatory</em></a> that aims to deconstruct the intersection between geological and political history. To celebrate its 25th anniversary, Witte de With hosts its own three-part exhibition, beginning with <a href="http://www.wdw.nl/event/art-in-the-age-of-energy-and-raw-material/" target="_blank"><em>Art In the Age of&hellip;Energy and Raw Material</em></a>, a group show asking how art and geothermal activities influence one another. It also has an ongoing <a href="http://artintheageof15.tumblr.com/">tumblr</a> with (among other things) old oil advertisements. Back in the States, Milwaukee&rsquo;s INOVA plans&nbsp;<em>Placing the Golden Spike: Landscapes of the Anthropocene&nbsp;</em>opening this March and running through June.</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">Emergent conclusions provoked by these exhibits will hopefully put an end to the middling shadow box of ecological propaganda, shifting instead to more proactive changes in societal habits. Nature, as a pure, nonhuman ideology may not exist, but the world in which humanity is embedded remains profound, strange, and reciprocally complex.</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">&mdash;<a href="http://www.artslant.com/global/artists/show/155816-caroline-picard?tab=REVIEWS" target="_blank">Caroline Picard</a></span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">&nbsp;</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino;">(Image at top:&nbsp;Marina Zurkow, Still from&nbsp;<a href="http://www.o-matic.com/play/friend/mesocosmWINK/" target="_blank"><em>Mesocosm (Wink, Texas)</em></a>, 2012, to be included in INOVA's&nbsp;<em>Placing the Golden Spike: Landscapes of the Anthropocene</em>, 2015)</span></p> Tue, 06 Jan 2015 17:20:34 +0000 http://www.artslant.com/cn/Articles/list http://www.artslant.com/cn/Articles/list Is Street Art Sexist? <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">When a street piece catches your eye do you ever stop to think:&nbsp;<em>was that done by a man or a woman?</em>&nbsp;</span></p> <p class="normal" style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">No survey has tallied the exact number of men versus women street artists, but since its beginning, the major names in New York graf were male. Taggers took on dangerous&mdash;often illegal&mdash;and arduous&nbsp;physical activities for the sake of getting their names on trains, billboards, and freeway underpasses. As graffiti evolved into street art, so did its expressions of rugged individualism and daring, macho spontaneity.</span></p> <p class="normal" style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">Women stand out for being a part of this, but addressing "female street artists" becomes a contentious issue. On one hand, it&rsquo;s important to note gender because female artists are a minority group in the field. On the other hand, the very term places gender before the identity&mdash;and quality&mdash;of the artist. It goes without saying, that the more important factor is the work of the artist&mdash;not whether they are male or female.</span></p> <p class="normal" style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">I decided to ask some of the women working in the game how they feel about all this.&nbsp;The label doesn&rsquo;t bother Los Angeles-based Christina Angelina, who sees it as part of a bigger picture.&nbsp;</span><span style="font-family: georgia, palatino; font-size: medium;">&ldquo;As long as our society continues to classify things by gender, then that&rsquo;s just gonna happen,&rdquo; said Angelina. &ldquo;It&rsquo;ll just be a matter of when people as a whole get over doing that. I don&rsquo;t think it&rsquo;s gonna happen any time soon. Until then I have no issue with it.&rdquo;</span></p> <p class="normal" style="line-height: 26px;"><span style="font-family: georgia, palatino; font-size: medium;"><img style="display: block; margin-left: auto; margin-right: auto;" src="http://dbprng00ikc2j.cloudfront.net/userimages/101642/4cut/20150113133003-15635288651_e745437e6b_z.jpg" alt="" /></span></p> <p class="normal" style="line-height: 26px; text-align: center;"><span style="font-family: georgia, palatino; font-size: x-small;">Christina Angelina and Ease One, 2014 via Creative Commons</span></p> <p class="normal" style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">Yet she has definitely noticed more women emerging in this world and hopes &ldquo;that continues to grow exponentially.&rdquo; Personally, Angelina recalls positive experiences when painting in the street.&nbsp;</span></p> <p class="normal" style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">The "street art" label is able to galvanize debates around art and can often feed social media frenzies. The streets can be a ruthless environment for any artist&mdash;murals are painted over within days, wheatpastes are ripped off the wall, and toys often spray right over their competition. Artist peers are often the toughest crowds to please, and they aren't necessarily always welcoming of newcomers in their terrain. Women who have typically been objectified or stereotyped by the culture.&nbsp;</span></p> <p class="normal" style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">Street art can be a powerful conduit for any kind of image: after all, big scale makes a big impact. So the manner in which the female body gets treated in street art proves significant. While some street art pieces can objectify women&mdash;depicting them with pouty lips and prominent cleavage that echoes the "sex sells" imagery of advertising&mdash;they can also serve to empower and celebrate the female body and identity. JR&rsquo;s <a href="http://www.jr-art.net/projects/women-are-heroes-brazil" target="_blank"><em>Women are Heroes</em></a>&nbsp;project payed homage to the women of Brazil. Many artists, male and female, are keen too to pay homage to female beauty and sexuality.<br /></span></p> <p class="normal" style="line-height: 26px; text-align: center;"><span style="font-family: georgia, palatino; font-size: medium;"><img src="http://dbprng00ikc2j.cloudfront.net/userimages/101642/4cut/20150113133938-6699227193_4321d787f5_z.jpg" alt="" /></span></p> <p class="normal" style="line-height: 26px; text-align: center;"><span style="font-family: georgia, palatino; font-size: x-small;">Lady Aiko via Creative Commons</span></p> <p class="normal" style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">Other artists like Swoon, Bambi (often referred to as "the female Banksy," a thorny accoloade in itself), and Miss Van have risen above the challenges of machismo and sexism in graf, gaining worldwide recognition&mdash;without using their own body image to succeed. They also choose women as the central subject of their work, but the outcome is quite different. Swoon, who works primarily with wheatpaste, often addresses women social issues, such as the murder of women in Juarez, Mexico. Lady Aiko merges Japanese aesthetics with American styles&mdash;many of her murals portray the female figure in bursts of color and femininity&mdash;while Miss Van paints busty, enigmatic, masked figures who do not conform to the rigid requisite of beauty we often see in visual culture nowadays.</span></p> <p class="normal" style="line-height: 26px; text-align: center;"><span style="font-family: georgia, palatino; font-size: medium;"><img src="http://dbprng00ikc2j.cloudfront.net/userimages/101642/4cut/20150113133321-13036190095_5526b494fe_z.jpg" alt="" /></span></p> <p class="normal" style="line-height: 26px; text-align: center;"><span style="font-family: georgia, palatino; font-size: x-small;">Pang via Creative Commons</span></p> <p class="normal" style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">What their work demonstrates is that while there is nothing inherently female about women's street style, the female body and contemporary mural culture do intersect in significant ways. Portrayals of the female body, like those of Lady Aiko, give a broader perspective of women; meanwhile other female artists, such as UK-based artist PANG, shun this feminine edge altogether.&nbsp;</span></p> <p class="normal" style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">Yet it&rsquo;s undeniable that female street artists still face challenges. Allison Torneros, aka Hueman, knows this firsthand as she oftentimes paints late into the night. She keeps pepper spray on hand, and during one painting session, she remembers men stopping and checking on her.&nbsp;</span><span style="font-family: georgia, palatino; font-size: medium;">In the past, some male artists asked to paint with her, only to then make salacious comments on her appearance.&nbsp;</span></p> <p class="normal" style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">&ldquo;That&rsquo;s why women have to be on guard and we do try to put up a tougher front because we do deal with bullshit like that just being a woman in general,&rdquo;&nbsp; said Torneros. &ldquo;We get that shit on the daily from random dudes so we don&rsquo;t wanna have to deal with that in the street art world.&rdquo;</span></p> <p class="normal" style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">Torneros finds that her supporters and opportunities are simply results of the work speaking for itself.&nbsp;&ldquo;I don&rsquo;t think it has too much to do with gender,&rdquo; said Torneros. &ldquo;It&rsquo;s just about making people take you seriously, but if your art is good enough and it shows, there&rsquo;s not much proving you have to do.&rdquo;&nbsp;</span></p> <p class="normal" style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">But some artists take a different approach to gender, embracing it more fully. Girl Mobb, for instance, highlights her gender unapologetically:&nbsp;&ldquo;Girl Mobb is a higher ideal,&rdquo; Girl Mobb, also known as Nina Wright, wrote in an email to me. &nbsp;&ldquo;A liberating, high pitched squeal of excitement.&rdquo;</span></p> <p class="normal" style="line-height: 26px; text-align: center;"><span style="font-family: georgia, palatino; font-size: medium;"><img src="http://dbprng00ikc2j.cloudfront.net/userimages/101642/4cut/20150113134704-9648141283_fb4385ff7d_z.jpg" alt="" /></span></p> <p class="normal" style="line-height: 26px; text-align: center;"><span style="font-family: georgia, palatino; font-size: x-small;">Girl Mobb via Creative Commons</span></p> <p class="normal" style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">She also encounters some less-than-pleasant experiences when painting at night but says &ldquo;you don&rsquo;t let these things bother you.&rdquo; When asked about whether the Oakland street art scene welcomes female artists, she pointed out that the street art scene is different, more democratic.&nbsp;</span><span style="font-family: georgia, palatino; font-size: medium;">&ldquo;It&rsquo;s still the street, it&rsquo;s for anyone and anyone can do it, no one&rsquo;s going to greet you at the wall, it just takes initiative,&rdquo; Wright wrote. &ldquo;It&rsquo;s what separates itself from the fine art world. You don't need permission.&rdquo;</span>&nbsp;</p> <p class="normal" style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">Some female artists are connecting to create gender soldiarity: inspiring the creation of all-female group likes&nbsp;<a href="http://muralsandgirls.com/" target="_blank">Murals and Girls</a><em>,&nbsp;</em>which boasts more than 300 members from around the world. The group works with communities to set up commercial and residential spaces for female street artists to paint.</span>&nbsp;<span style="font-family: georgia, palatino; font-size: medium;">&ldquo;We saw a need to focus specifically on female artists as the spotlight had been previously only focused on the males,&rdquo; wrote co-founder Sarah Throckmorton in an email. &ldquo;The moment we did so, our movement took off instantly and has continued to build momentum daily.&rdquo;</span>&nbsp;</p> <p class="normal" style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">Similarly,&nbsp;<a href="http://www.fewandfarwomen.com/" target="_blank">Few and Far</a>&nbsp;celebrates the talent of women artists from a variety of backgrounds. The organization started when Founder and Organizer Meme&mdash;a self-taught graffiti artist and skateboarder&mdash;painted a mural in Oakland with 17 other female artists. The group, comprised of artists and skaters, often puts on all-girl skate jams, too.&nbsp;</span></p> <p class="normal" style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">&ldquo;If your heart is in it, Few and Far will recognize you,&rdquo; said Meme. &ldquo;That&rsquo;s the encouragement we want to show women and girls.</span><span style="font-family: georgia, palatino; font-size: medium;">&rdquo;&nbsp;<span style="text-align: left;">She hopes the group will foster even more support amongst female artists.&nbsp;</span><span style="text-align: left;">&ldquo;What happens in society with women is we're quick to judge or put each other down instead of trying to uplift or encourage each other,&rdquo; said Meme. &ldquo;If we were encouraging each other our society as a whole would grow.&rdquo;&nbsp;</span></span></p> <p class="normal" style="line-height: 26px; text-align: center;"><span style="font-family: georgia, palatino; font-size: medium;"><span style="text-align: left;"><img src="http://dbprng00ikc2j.cloudfront.net/userimages/101642/4cut/20150113135031-oaktownart_20110617_09.jpg" alt="" /></span></span></p> <p class="normal" style="line-height: 26px; text-align: center;"><span style="font-family: georgia, palatino; font-size: x-small;"><span style="text-align: left;">Meme, Hops &amp; 179 via Creative Commons</span></span></p> <p class="normal" style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">Allison Torneros notes that the worlds of graffiti and street art focus specifically on marking territory. While the street art and graffiti game may have begun as a show of machismo by daring men, women are now prominent players too. In many ways, the street is also the most democratic art space. Audience and peer reaction rather than any kind of industry validation is what makes or breaks an artist; the risk is part of it all.</span></p> <p class="normal" style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">With groups like Few and Far and Murals and Girls, gender becomes the operating mechanism for a strong connection between artists with divergent backgrounds and aesthetic approaches. The creation of both groups resulted from the awareness of street art as a male-dominated scene and the stigmatized position of women; but their existence seems predicated on much more than holding their own against the boys.&nbsp;</span></p> <p class="normal" style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">&nbsp;</span></p> <p class="normal" style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">&mdash;<a href="http://www.artslant.com/global/artists/show/347546-eva-recinos?tab=REVIEWS" target="_blank">Eva Recinos</a></span></p> <p class="normal" style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: x-small;">Image on top: Lush, via Creative Commons</span></p> Wed, 14 Jan 2015 09:59:05 +0000 http://www.artslant.com/cn/Articles/list http://www.artslant.com/cn/Articles/list 1950s Collages by Helen Adam Anticipated the Internet Meme <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">A funny image accompanied by a one-liner caption&mdash;it&rsquo;s a form we know all too well. The internet meme is infinitely reproducible, mutable, and sharable: they're digital artifacts symptomatic of our current cut-and-paste culture.</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">But we&rsquo;re not the first generation to cut and paste with wild abandon: in Europe in the 20s and 30s, photomontage became surreal art in the hands of practitioners like Hannah H&ouml;ch, John Heartfield, and Raoul Hausmann; British artists took to collage from the 1960s on, from Pop Art&rsquo;s Richard Hamilton to Punk&rsquo;s Linder and Jamie Reid; San Francisco produced collage artists like Jess and Bruce Conner, associated with poetry and the Beat generation.</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">But here are some collages from the analogue cut-and-paste days that wouldn&rsquo;t be out of place in the internet meme-sphere. Behold the dark humor of Helen Adam:</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">&nbsp;</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">(PERHAPS NO ONE WILL NOTICE THEM.)</span></p> <p style="line-height: 26px;"><span style="font-family: georgia, palatino; font-size: medium;"><img style="display: block; margin-left: auto; margin-right: auto;" src="http://dbprng00ikc2j.cloudfront.net/userimages/32120/1dkh/20150105090400-Perhaps-No-One-Will-Notice-photo-by-James-A-Ulrich.jpg" alt="" />&nbsp;</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">A society photo with some bats pasted in transforms this girl into a quivering debutante with a morbid obsession.</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">&nbsp;</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">&ldquo;I BLAME MOTHER.&rdquo;</span></p> <p style="line-height: 26px; text-align: center;"><span style="font-family: georgia, palatino; font-size: medium;"><img src="http://dbprng00ikc2j.cloudfront.net/userimages/32120/1dkh/20150105090505-I-Blame-Mother-photo-by-James-A-Ulrich.jpg" alt="" /></span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">These demons disgorged from the bowels of Hell while a stern-looking Puritan woman intones, &ldquo;I blame mother&rdquo;&mdash;would sure make a great e-card.</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">&nbsp;</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">WHERE ARE THE SNOWS</span></p> <p style="line-height: 26px; text-align: center;"><span style="font-family: georgia, palatino; font-size: medium;"><img src="http://dbprng00ikc2j.cloudfront.net/userimages/32120/1dkh/20150105090601-HelenAdam_WhereAreTheSnows_c1957_59.jpg" alt="" /></span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">The caption on this one is a bit opaque, but the use of the kittehs is right on point for this day and age.</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">&nbsp;</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">Helen Adam (1909-1993) was a Scottish poet, artist, contemporary to the Beats, active participant in the San Francisco Renaissance of the 1950s&ndash;60s, and eccentric kook with a penchant for turbans and amulets. Along with her collages, her poetry also seemed to belong to a different age. While her contemporaries were busy deconstructing formal poetry, she stubbornly adhered to the ballad format. Her mix of modern slang with antiquated lyric verse form </span><a style="font-family: georgia, palatino; font-size: medium;" href="http://ginsbergblog.blogspot.com/2012/12/helen-adam-1909-1993.html" target="_blank">had Allen Ginsburg scratching his head</a><span style="font-family: georgia, palatino; font-size: medium;">, but was totally post-modern before there was even post-modernism. Here she is singing a rhymed ballad about a junkie looking for a fix:</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">&nbsp;</span></p> <p style="text-align: center;"><iframe src="//www.youtube.com/embed/t9b7RhTYUKE" frameborder="0" width="700" height="394"></iframe></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">&nbsp;</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">Adam&rsquo;s collages are currently on view at the Pasadena Museum of California Art, in the magnificent exhibition </span><a href="http://www.artslant.com/la/events/show/353853-an-opening-of-the-field-jess-robert-duncan-and-their-circle" target="_blank"><em style="font-family: georgia, palatino; font-size: medium;">An Opening of the Field: Jess, Robert Duncan, and Their Circle</em></a><span style="font-family: georgia, palatino; font-size: medium;">, which is on view until January 11.</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">&nbsp;</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">&mdash;<a href="http://www.artslant.com/global/artists/show/11505-natalie-hegert?tab=REVIEWS" target="_blank">Natalie Hegert</a></span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">&nbsp;</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: x-small;">(All images: Helen Adam, c. 1957&ndash;1959, Collage;&nbsp;</span><span style="font-family: georgia, palatino; font-size: x-small;">The Poetry Collection of the University Libraries,&nbsp;</span><span style="font-family: georgia, palatino; font-size: x-small;">University at Buffalo, The State University of New York; Photo: James A. Ulrich;&nbsp;</span><span style="font-family: georgia, palatino; font-size: x-small;">Image at top:&nbsp;</span><span style="font-family: georgia, palatino; font-size: x-small;">&nbsp;</span><em style="font-family: georgia, palatino; font-size: x-small;">Bonny Charlie&rsquo;s Gone Awa</em><span style="font-family: georgia, palatino; font-size: x-small;">)</span></p> Mon, 05 Jan 2015 09:29:07 +0000 http://www.artslant.com/cn/Articles/list http://www.artslant.com/cn/Articles/list 2015's Big 15: The Museum Shows to Look Out For This Year <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">The position of the Art Museum has become tricky, thanks to the rise of the independent cultural producer, pop-ups and nomadic curators, and the increasing popularity of free public art. In the same way Hollywood was broken up by agents in the 50s, the institute is under siege. To be relevant to a demographic spread&mdash;with rising ticket prices and all&mdash;art centers are having to work hard within their parameters. </span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">In 2015, visitors expect more than just blockbusters with an educational fiber, spending less time looking at individual artworks and expecting something transformative.&nbsp;</span><span style="font-family: georgia, palatino; font-size: medium;">So which museum exhibitions will resonate with the global community in 2015?&nbsp;</span><span style="font-family: georgia, palatino; font-size: medium;">The ArtSlant Senior Editors predict the big 15 for 2015.</span></p> <p style="line-height: 26px; text-align: center;"><span style="font-family: georgia, palatino; font-size: medium;"><img src="http://dbprng00ikc2j.cloudfront.net/userimages/101642/4cut/20150102152448-rhoadexh-view_13-5Or9h9.jpg" alt="" /></span></p> <p style="text-align: center;"><span style="font-family: georgia, palatino; font-size: x-small;">Installation view, 'My Madinah. In pursuit of my ermitage', Hauser &amp; Wirth Collection Lokremise, St. Gallen, Switzerland, 2004;</span><span style="line-height: 26px;">&nbsp;</span><span style="font-family: georgia, palatino; font-size: x-small;">Photo: A. Burger</span></p> <p style="text-align: center;"><span style="font-family: georgia, palatino; font-size: x-small;">&nbsp;</span></p> <p style="line-height: 26px; text-align: justify;"><strong><span style="font-family: georgia, palatino; font-size: medium;">1. <a href="https://www.balticmill.com/whats-on/exhibitions/detail/jason-rhoades-four-roads">Jason Rhoades at the&nbsp;</a></span><span style="font-family: georgia, palatino; font-size: medium;"><a href="https://www.balticmill.com/whats-on/exhibitions/detail/jason-rhoades-four-roads">Baltic</a>, Newcastle&nbsp;</span></strong></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">Opens: February 20</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">It's been nearly a decade since the artist passed away, aged 41, yet Rhoades' installations still tick all the boxes for an attractive exhibition today: colorful, luminous, big. Expect a sensory feast for the end of winter.</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">&nbsp;</span></p> <p style="line-height: 26px; text-align: center;"><span style="font-family: georgia, palatino; font-size: medium;"><img src="http://dbprng00ikc2j.cloudfront.net/userimages/101642/4cut/20150102150800-SC225367.jpg" alt="" /><span style="font-size: x-small;"><em>Under the Wave off Kanagawa (Kanagawa-oki nami-ura)</em>, also known as the <em>Great Wave</em>, from the series Thirty-six Views of Mount Fuji (Fugaku sanj&ucirc;rokkei);&nbsp;</span><span style="font-size: x-small;">Denman Waldo Ross Collection</span></span></p> <p style="line-height: 26px; text-align: justify;"><strong><span style="font-family: georgia, palatino; font-size: medium;">2. <a href="http://www.mfa.org/exhibitions/hokusai-0">Hokusai at the MFA</a>, Boston</span></strong></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">Opens: April 5</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">The ubiquitious Wave is enough to draw a substantial crowd in itself: with the widespread influence of Edo period woodcuts on current art forms, this exhibition of works by the major Ukiyo-e artist will be of huge interest.&nbsp;</span><span style="text-align: center;">&nbsp;</span></p> <p style="line-height: 26px; text-align: justify;"><span style="text-align: center;">&nbsp;</span></p> <p style="line-height: 26px; text-align: center;"><img src="http://dbprng00ikc2j.cloudfront.net/userimages/32120/1dkh/20150103105126-world_goes_pop.jpg" alt="" /></p> <p class="context-caption" style="text-align: center;"><span style="font-family: georgia, palatino; font-size: x-small;">Ushio Shinohara,&nbsp;<em>Doll Festival</em>,1966; &copy; Tokyo Gallery+BTAP</span></p> <p class="context-caption" style="text-align: center;"><span style="font-family: georgia, palatino; font-size: x-small;">&nbsp;</span></p> <p style="line-height: 26px; text-align: justify;"><strong><span style="font-family: georgia, palatino; font-size: medium;">3. <a href="http://www.tate.org.uk/whats-on/tate-modern/exhibition/world-goes-pop"><em>The World Goes Pop</em>, Tate Modern</a>, London</span></strong></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">Opens: September 17</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">Another no-brainer, Pop Art's resurgence is still going strong and its way of surveying consumerism makes it only more relevant for the contemporary viewer. The Tate rethinks Pop via new research into the subject, uniting artworks from the Middle East, Latin America, and Europe, many of which have never been displayed in the UK before.</span><span style="text-align: center;">&nbsp;</span></p> <p style="line-height: 26px; text-align: justify;"><span style="text-align: center;">&nbsp;</span></p> <p style="line-height: 26px; text-align: center;"><span style="text-align: center;"><img src="http://dbprng00ikc2j.cloudfront.net/userimages/32120/1dkh/20150103105306-109488.jpg" alt="" /><br /></span></p> <p style="line-height: 15px; text-align: center;"><span style="font-family: georgia, palatino; font-size: x-small;">Still from the &ldquo;All Is Full of Love&rdquo; music video, 1999. Directed by Chris Cunningham. Music by Bj&ouml;rk. Image courtesy of One Little Indian</span></p> <p style="line-height: 15px; text-align: center;">&nbsp;</p> <p style="line-height: 26px; text-align: justify;"><strong><span style="font-family: georgia, palatino; font-size: medium;">4. <a href="http://www.moma.org/visit/calendar/exhibitions/1501">Bjork, MoMA, </a>New York</span></strong></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">Opens: March 8</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">Well, it's bloody Bjork, who isn't going to be interested?</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">&nbsp;</span></p> <p style="line-height: 26px; text-align: center;"><span style="font-family: georgia, palatino; font-size: medium;"><img src="http://dbprng00ikc2j.cloudfront.net/userimages/101642/4cut/20150102150540-Body-Talk-Feminism-Sexuality-and-the-Body-in-the-Work-of-Six-African-Women-Artists.jpg" alt="" /></span></p> <p style="line-height: 15px; text-align: center;"><span style="font-family: georgia, palatino; font-size: x-small;">Miriam Syowia Kyambi, <em>Fracture (i)</em>, 2011. Multimedia installation/performance; Photo: Marko Kivioja, Terhi Vaatti &amp; Anni Kivioja, Kouvola Art Museum Poikilo</span></p> <p style="line-height: 15px; text-align: center;"><span style="font-family: georgia, palatino; font-size: x-small;">&nbsp;</span></p> <p style="line-height: 26px; text-align: justify;"><strong><span style="font-family: georgia, palatino; font-size: medium;">5. <a href="http://www.wiels.org/en/exhibitions/668/Body-Talk-Feminism-Sexuality-and-the-Body-in-the-Work-of-Six-African-Women-Artists"><em>Body Talk</em>, Wiels,</a> Brussels</span></strong></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">Opens: February 2</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">Sexuality. Women. Body Politics. Africa. Feminism. Somehow, Wiels have managed to combine some of the most pressing art buzzwords of the moment into one exhibition&mdash;and we can't wait to see it.</span></p> <p style="line-height: 26px; text-align: justify;">&nbsp;</p> <p style="line-height: 26px; text-align: justify;"><strong><span style="font-family: georgia, palatino; font-size: medium;">6. <a href="http://www.lacma.org/art/exhibition/islamic-art-now-contemporary-art-middle-east"><em>Islamic Art Now</em>, LACMA</a>, Los Angeles</span></strong></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">Opens: January 31</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">In a significant step for a North American museum and one that will hopefully pave the way, LACMA opens the year with an exhibition from its recently acquired collection of Islamic Art by Middle Eastern artists.</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">&nbsp;</span></p> <p style="line-height: 26px; text-align: center;"><span style="font-family: georgia, palatino; font-size: medium;"><img src="http://dbprng00ikc2j.cloudfront.net/userimages/101642/4cut/20150102150255-4425850546_d7aaecf934_b.jpg" alt="" /></span></p> <p style="line-height: 15px; text-align: center;"><span style="font-family: georgia, palatino; font-size: x-small;">Tino Seghal at the Guggenheim, 2010</span></p> <p style="line-height: 15px; text-align: center;"><span style="font-family: georgia, palatino; font-size: x-small;">&nbsp;</span></p> <p style="line-height: 26px; text-align: justify;"><strong><span style="font-family: georgia, palatino; font-size: medium;">7. <a href="http://stedelijk.nl/en/exhibitions/a-year-at-the-stedelijk-tino-sehgal">Tino&nbsp;</a><span style="text-align: left;"><a href="http://stedelijk.nl/en/exhibitions/a-year-at-the-stedelijk-tino-sehgal">Sehgal at Stedelijk</a>, Amsterdam</span></span></strong></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;"><span style="text-align: left;">Opens: January 1</span></span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;"><span style="text-align: left;">Anyone who visits the Stedelijk in 2015 will likely encounter this year-long alternative retrospective, which marks the museum's new directorship of Beatrix Ruf. Each month a new gallery will host a different Sehgal performance. Guess we'll have to keep coming back!</span></span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;"><span style="text-align: left;">&nbsp;</span></span></p> <p style="line-height: 26px; text-align: center;"><span style="font-family: georgia, palatino; font-size: medium;"><span style="text-align: left;"><img src="http://dbprng00ikc2j.cloudfront.net/userimages/101642/4cut/20150102150133-G.O.jpg" alt="" /></span></span></p> <p style="line-height: 15px; text-align: center;"><span style="font-family: georgia, palatino; font-size: medium;"><span style="font-size: x-small;">Gabriel Orozco,&nbsp;<em>Ping-Pond Table</em>, 1998, Deformed ping-pong tables, ping-pong rackets, ball,water tank, pump filter, water lilies, Courtesy and Collection of: 21st Century Museum of Contemporary Art, Kanazawa</span></span></p> <p style="line-height: 15px; text-align: center;"><span style="font-family: georgia, palatino; font-size: medium;"><span style="font-size: x-small;">&nbsp;</span></span></p> <p style="line-height: 26px; text-align: justify;"><strong><span style="font-family: georgia, palatino; font-size: medium;">8. <a href="http://www.mot-art-museum.jp/eng/exhibition/schedule.html">Gabriel Orozco, MOT,</a> Tokyo</span></strong></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">Opens: January 24</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">The centerpiece of this show&mdash;Orozco's first, much-anticipated, solo exhibition in Japan&mdash;is the artist's cleverly manipulated&nbsp;<em>Ping Pond</em> <em>Table</em>.</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">&nbsp;</span></p> <p style="line-height: 26px; text-align: center;"><span style="font-family: georgia, palatino; font-size: medium;"><img src="http://dbprng00ikc2j.cloudfront.net/userimages/101642/4cut/20150102150033-Hirshhorn_Shirin_Neshat.jpg" alt="" /></span></p> <p class="p1" style="line-height: 15px; text-align: center;"><span style="font-family: georgia, palatino; font-size: x-small;">Shirin Neshat,&nbsp;<em>Rapture</em>&nbsp;(Production still), 1999. Photo: Larry Barns. &copy; Shirin Neshat. Courtesy Gladstone Gallery, New York and Brussels</span></p> <p class="p1" style="line-height: 15px; text-align: center;"><span style="font-family: georgia, palatino; font-size: x-small;">&nbsp;</span></p> <p class="p1" style="line-height: 26px; text-align: justify;"><strong><span style="font-family: georgia, palatino; font-size: medium;">9. <a href="http://www.hirshhorn.si.edu/collection/shirin-neshat/#detail=/bio/shirin-neshat-facing-history/">Shirin Neshat at the Hirshhorn, </a>Washington DC</span></strong></p> <p class="p1" style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">Opens: May 18</span></p> <p class="p1" style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">The Iranian American artist's striking films and photographs need little introduction. Facing history and looking to the future, the exhibition will bring together Neshat's famous&nbsp;<em>Women of Allah</em> photographs from the 90s with more recent projects made in the wake of the Green Movement and Arab Spring.</span></p> <p class="p1" style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">&nbsp;</span></p> <p class="p1" style="line-height: 26px; text-align: center;"><span style="font-family: georgia, palatino; font-size: medium;"><img src="http://dbprng00ikc2j.cloudfront.net/userimages/101642/4cut/20150102145902-kawakami-kenji-bord-des-mondes.jpg" alt="" /></span></p> <p class="p1" style="line-height: 15px; text-align: center;"><span style="font-family: georgia, palatino; font-size: x-small;">Beurre en stick, Kawakami Kenji. Courtesy Christophe Lecoq</span></p> <p class="p1" style="line-height: 15px; text-align: center;"><span style="font-family: georgia, palatino; font-size: x-small;">&nbsp;</span></p> <p class="p1" style="line-height: 26px; text-align: justify;"><strong><span style="font-family: georgia, palatino; font-size: medium;">10. <a href="http://www.palaisdetokyo.com/fr/exposition/programme-de-fevrier-mai-2015"><em>Le Bord Des Mondes</em>, Palais De Tokyo</a>, Paris</span></strong></p> <p class="p1" style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">Opens: February 16</span></p> <p class="p1" style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">Outsider art remins <em>so hot right now</em>, particularly in the wake of Massimiliano Gioni's 2013 Venice Bienniale centerpiece <em>The&nbsp;Encyclopedic Palace</em>.&nbsp;This group show highlights creators and visionaries working on the periphery of the art world, including man-of-the-moment Theo Jansen. One of ArtSlant's Senior Editors loved his Miami Beach performance this December so much he did 11 posts of it on our Instagram account.</span></p> <p class="p1" style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">&nbsp;</span></p> <p class="p1" style="line-height: 26px; text-align: center;"><span style="font-family: georgia, palatino; font-size: medium;"><img src="http://dbprng00ikc2j.cloudfront.net/userimages/101642/4cut/20150102145815-camisas45798-975x731.jpg" alt="" /></span></p> <p class="p1" style="line-height: 26px; text-align: center;"><span style="font-family: georgia, palatino; font-size: medium; line-height: 15px;"><span style="font-size: x-small;">Doris Salcedo,&nbsp;</span><span style="font-size: x-small;">Installation view, Doris Salcedo Studio, Bogot&aacute;, 2013,&nbsp;</span><span style="font-size: x-small;">Photo: Oscar Monsalve Pino,&nbsp;</span><span style="font-size: x-small;">Reproduced courtesy of the artist; Alexander and Bonin, New York; and White Cube, London</span></span></p> <p class="p1" style="line-height: 26px; text-align: center;"><span style="font-family: georgia, palatino; font-size: medium; line-height: 15px;"><span style="font-size: x-small;">&nbsp;</span></span></p> <p class="p1" style="line-height: 26px; text-align: justify;"><strong><span style="font-family: georgia, palatino; font-size: medium;">11. <a href="http://www2.mcachicago.org/exhibition/doris-salcedo/">Doris Salcedo, MCA, </a>Chicago</span></strong></p> <p class="p1" style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">Opens: February 21</span></p> <p class="p1" style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">Hotly tipped by our Chicago Editor (not to mention every one of our Chicago writers), this is the first retrospective of Salcedo's highly charged sculptural work.</span></p> <p class="p1" style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">&nbsp;</span></p> <p class="p1" style="line-height: 26px; text-align: center;"><img src="http://dbprng00ikc2j.cloudfront.net/userimages/101642/4cut/20150102145728-dots-obsession_2011_web_800.jpg" alt="" /></p> <p class="p1" style="text-align: center;"><span style="font-family: georgia, palatino; font-size: x-small;">Yayoi Kusama inside her installation <em>Dots Obsession</em>, via Pinterest</span></p> <p class="p1" style="text-align: center;"><span style="font-family: georgia, palatino; font-size: x-small;">&nbsp;</span></p> <p class="p1" style="line-height: 26px; text-align: justify;"><strong><span style="font-family: georgia, palatino; font-size: medium;">12. <a href="http://en.louisiana.dk/exhibition/yayoi-kusama">Yayoi Kusama, Louisiana</a>, Denmark</span></strong></p> <p class="p1" style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">Opens: September 17</span></p> <p class="p1" style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">In 2013 people waited hours&mdash;hours in the snow no less!&mdash;to spend a blissful 45 seconds in one of Kusama's&nbsp;Infinity Rooms at David Zwirner in New York. Not far from Copenhagen, Denmark's Louisiana has a gorgeous permanently installed&nbsp;Infinity Room,&nbsp;<em>Gleaming Lights of the Souls</em><em>&nbsp;</em>(with a much shorter queue) and will feature a major retrospective of the beloved Japanese eccentric this fall.<em><br /></em></span></p> <p class="p1"><span style="font-family: georgia, palatino; font-size: medium;">&nbsp;</span></p> <p class="p1" style="text-align: center;"><span style="font-family: georgia, palatino; font-size: medium;"><img src="http://dbprng00ikc2j.cloudfront.net/userimages/101642/4cut/20150102163812-i.74.500.jpg" alt="" /></span></p> <p class="p1" style="text-align: center;"><span style="font-family: georgia, palatino; font-size: x-small;">Texas Project, Hyangki nae, 2004 Digital C-Print &copy; Onejoon Che (Participating artist 2015)</span></p> <p class="p1" style="text-align: center;"><span style="font-family: georgia, palatino; font-size: x-small;">&nbsp;</span></p> <p class="p1"><strong><span style="font-family: georgia, palatino; font-size: medium;">13. <a href="http://www.newmuseum.org/exhibitions/view/the-generational-triennial">New Museum Triennal</a>, New York</span></strong></p> <p class="p1"><span style="font-family: georgia, palatino; font-size: medium;">Opens: February 25</span></p> <p class="p1" style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">As this happens only once every three years, it's poised to be exciting, not least because it will bring 51 emerging artists into the Museum: this year's edition, entitled <em>Surround Audience</em>, curated by Ryan Trecartin and Lauren Cornell takes in current depictions of subjectivity, with&mdash;of course&mdash;a particular angle on social media. We're not bored of it. Yet.</span></p> <p class="p1" style="line-height: 26px; text-align: justify;"><em style="font-family: georgia, palatino; font-size: x-small; text-align: center;">&nbsp;</em></p> <p class="p1" style="line-height: 26px; text-align: justify;"><strong><span style="font-family: georgia, palatino; font-size: medium;">14. <a href="http://www.philamuseum.org/exhibitions/818.html"><em>The Art of American Still Life</em>, </a>Philadelphia Museum of Art</span></strong></p> <p class="p1" style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">Opens: October 27</span></p> <p class="p1" style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">One for those who like a more conventional blockbuster: with 12o plus oil paintings and watercolors, this exhibition pays homage to the tradition of still life and the way it has captured shifts in American culture since the 1800s.</span></p> <p class="p1" style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">&nbsp;</span></p> <p class="p1" style="line-height: 26px; text-align: center;"><img src="http://dbprng00ikc2j.cloudfront.net/userimages/101642/4cut/20150102151745-Ai-Weiwei-Photo-c-Gao-Yuan-1280x853.jpg" alt="" /><span style="font-family: georgia, palatino; font-size: medium; text-align: left;">&nbsp;</span></p> <p class="p1"><strong><span style="font-family: georgia, palatino; font-size: medium;">15. <a href="https://www.royalacademy.org.uk/exhibition/ai-weiwei">Ai Wei Wei, Royal Academy</a>, London</span></strong></p> <p class="p1"><span style="font-family: georgia, palatino; font-size: medium;">Opens: September 19</span></p> <p class="p1"><span style="font-family: georgia, palatino; font-size: medium;">Ai Wei Why? Because he is a legendary creator, and he's still got game.</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">&nbsp;</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">&mdash;The ArtSlant Team</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">&nbsp;</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: x-small;">(Image at top:&nbsp;Yayoi Kusama,&nbsp;<em>Gleaming Lights of the Souls</em>, 2008, Installation view at Louisiana, Denmark; Photo: Andrea Alessi)</span></p> Sat, 03 Jan 2015 12:42:30 +0000 http://www.artslant.com/cn/Articles/list http://www.artslant.com/cn/Articles/list The Misanthropic Art Writer's New Year's Resolutions <p class="p1" style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">The New Year: you feel fattened, you have to go back to work, everything you've just bought is now half the price of what you paid for it, it's cold and bleak. It's also the most depressing time of the year. But fear not: the affliction of New Year's resolutions still prevails over us all, ensuring that we will feel even worse in two weeks when we fail to see any of them through. </span></p> <p class="p1" style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">Our resident misanthrope Philippa Snow sets herself some imminently doomed challenges for 2015.&nbsp;<br /></span></p> <p class="p1" style="line-height: 26px; text-align: justify;">&nbsp;</p> <p class="p2" style="line-height: 26px; text-align: justify;"><strong><span style="font-family: georgia, palatino; font-size: medium;">1. I will not buy the Kim Kardashian selfie book.</span><span style="font-family: georgia, palatino; font-size: medium;"><br /></span></strong></p> <p class="p2" style="line-height: 26px;"><span style="font-family: georgia, palatino; font-size: medium;"><img style="display: block; margin-left: auto; margin-right: auto;" src="http://dbprng00ikc2j.cloudfront.net/userimages/101642/4cut/20141231140741-kimkardashianselfie2.jpg" alt="" /></span></p> <p class="p2" style="line-height: 26px; text-align: center;"><span style="font-family: georgia, palatino; font-size: x-small;">Via <a href="http://mothership.sg/2014/04/three-surefire-ways-to-get-more-likes-on-your-selfie/">Mothership</a></span></p> <p class="p1" style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">For somebody who is as much a believer in the great significance of dumb celebrity culture as a bona fide art appreciator, the announcement that Rizzoli were releasing a book of Kardashian selfies in the New Year was manna from heaven, but also from hell. &ldquo;Hailed by many (including Givenchy designer Riccardo Tisci) as the modern-day personification of Marilyn Monroe,&rdquo; gushes the release, &ldquo;Kim has become a true American icon.&rdquo; That Kardashian is an American icon is, I believe, beyond debate&mdash;she is a twenty-first-century model of a mudflap silhouette&mdash;but Marilyn Monroe, she ain't: I believe that <em>Selfish</em>, her selfie book, would commune a little too loudly with the worst parts of my character, and might leave me wanting to speak of very little aside from Kim for weeks afterward. She's a terrific subject for popular theory, I think, and extremely easy on the eye despite her vast and very popular carriage.</span><span style="font-family: georgia, palatino; font-size: medium;">&nbsp;</span></p> <p class="p1" style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">(Incidentally, did you know that <a href="https://www.youtube.com/watch?v=gHp7sq1Tzn0">Kim Kardashian put out a single in 2011?</a> I only discovered this myself this afternoon. The description of the music video on the Daily Mail website alone is a true Work Of Art, an assertion about which I'm only half-kidding:&nbsp;</span></p> <p class="p1" style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">&ldquo;[Kardashian is] oiled up, writhing around in a pair of tiny pink booty shorts and a white tank top, displaying wet and wild hair as well as a shiny appearance to her skin; in another part of the clip Kim vamps it up donning bright-red, ultra shiny lipstick and giant mirrored aviator sunglasses as she licks her lips for the camera and gazes sultrily into the lens. At one point the camera pans to a shot of Kim's famous derri&egrave;re in a pair of neon pink shorts before showing her lying down in a revealing white top."</span><span style="font-family: georgia, palatino; font-size: medium;">&nbsp;</span></p> <p class="p1" style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">Beautiful, no? I wish Richard Prince would spray-paint it onto a canvas, or Jenny Holzer would project it onto a building. It is my New Year's gift to you, so reproduce it on a t-shirt if you'd like.)</span></p> <p class="p2" style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">&nbsp;</span></p> <p class="p2" style="line-height: 26px; text-align: justify;"><strong><span style="font-family: georgia, palatino; font-size: medium;">2. I will make an effort to watch &ldquo;great works of cinema,&rdquo; instead of only B-Grade horror movies.</span><span style="font-family: georgia, palatino; font-size: medium;">&nbsp;</span></strong></p> <p class="p2" style="line-height: 26px; text-align: center;"><span style="font-family: georgia, palatino; font-size: medium;"><img src="http://dbprng00ikc2j.cloudfront.net/userimages/101642/4cut/20141231141143-Attack_of_the_puppet_people_1958.jpg" alt="" /></span></p> <p class="p2" style="line-height: 26px; text-align: center;"><span style="font-family: georgia, palatino; font-size: x-small;">Attack of the Puppet People Poster, 1958</span></p> <p class="p1" style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">I hear that <em>Boyhood</em> was a very &ldquo;important&rdquo; film in 2014, and the same for <em>Inherent Vice</em>; I wouldn't know, though, as my partner and I spent the vast majority of our time watching films in which things bit, burst, infected, stalked, shadowed, haunted, possessed, or otherwise menaced a defenceless person or persons. If you were to add up the number of minutes we'd spent feeling mildly spooked since January 1st, I would imagine that we could instead have taken in God knows how many documentaries about modern dance, or three-hour films by Paul Thomas Anderson, or, well, <a href="http://www.tate.org.uk/whats-on/tate-britain/exhibition/turner-prize-2014/turner-prize-2014-artists-james-richards">short films of anuses clenching shut, for that matter.&nbsp;</a></span></p> <p class="p1" style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">So far, the only films we have made any concrete plans to see in 2015 are <em>It Follows</em>, and&mdash;more reluctantly&mdash;the third <em>[REC]</em> sequel: I anticipate some difficulty in keeping this one, so I'm open to recommendations.</span></p> <p class="p1" style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">&nbsp;</span></p> <p class="p2" style="line-height: 26px; text-align: justify;"><strong><span style="font-family: georgia, palatino; font-size: medium;">3. I will try to love art again, for real.</span><span style="font-family: georgia, palatino; font-size: medium;">&nbsp;</span></strong></p> <p class="p2" style="line-height: 26px; text-align: center;"><span style="font-family: georgia, palatino; font-size: medium;"><img src="http://dbprng00ikc2j.cloudfront.net/userimages/101642/4cut/20141231141405-vsnmwr36h67jbhr5r8oz.png" alt="" /></span></p> <p class="p1" style="line-height: 26px; text-align: center;"><span style="font-family: georgia, palatino; font-size: x-small;">Image: Gawker</span></p> <p class="p1" style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">Christ, I have been on autopilot this year: if contemporary art and I are in a relationships, these have felt like its death throes, the phase during which we sign up for couples' therapy. I do not recall, offhand at least, a single instance in which I've felt really excited by an artwork, or inspired to write about it. In 2012 and in 2013 I had ideas; now, I have fits of exhaustion and periods of boredom, interspersed with breakdowns. I have finally watched the thing that I loved become more and more about greed and exclusion and Usher charging his phone in a woman's vaginal cavity at Art Basel, and I've turned off my interest like a flipped switch.&nbsp;</span></p> <p class="p1" style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">This may seem like a dour way to finish my resolutions&mdash;especially given my previous assertion, last week, that <a href="http://www.artslant.com/ew/articles/show/41565" target="_blank">I wanted to punch art, <em>in toto</em>, in the face</a>&mdash;but <em>hope springs eternal</em>, if quietly. I'm hoping that 2015 is the year in which art can excite me again, can incite me to write for the love, and not simply for work, or for necessary profit, or to &ldquo;stay in the game&rdquo; until death or retirement, <em>whatever</em>. </span></p> <p class="p1" style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">Please don't misconstrue this last point as my belief that the artist is there for my entertainment: I'm a misanthrope, and hate most things, and art is still one of the things I hate <em>least</em>.&nbsp;</span></p> <p class="p1" style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;"> Happy New Year, anyway, on that cheerful note! I feel reasonably good about our chances for 2015, so let's drink to them.</span><span style="font-family: georgia, palatino; font-size: medium;">&nbsp;</span><span style="font-family: georgia, palatino; font-size: medium;">(And Rizzoli: call on me for an introductory essay, if you're thinking of a sequel. I already have a thousand words about Kim's significance, uh, </span><em style="font-family: georgia, palatino; font-size: medium;">in the can</em><span style="font-family: georgia, palatino; font-size: medium;">.)</span></p> <p class="p1" style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">&nbsp;</span></p> <p class="p1" style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">&mdash;<a href="http://www.artslant.com/global/artists/show/265136-philippa-snow?tab=REVIEWS" target="_blank">Philippa Snow</a></span></p> <p class="p1" style="line-height: 26px; text-align: justify;">&nbsp;</p> <p class="p1" style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: medium;">&nbsp;</span></p> <p class="p1" style="line-height: 26px; text-align: justify;"><span style="font-family: georgia, palatino; font-size: x-small;">(Image on top: Pieter Bruegel the Elder, <em>The Mistanthrope</em>, via Wikicommons)</span></p> Fri, 02 Jan 2015 12:59:40 +0000 http://www.artslant.com/cn/Articles/list http://www.artslant.com/cn/Articles/list Exposing Visual Rhymes: An Interview with Mario Ybarra Jr. <p style="line-height: 26px; text-align: justify;"><span style="font-size: medium; color: #000000; font-family: arial,helvetica,sans-serif;"><em><strong>This interview was <a href="http://www.artslant.com/chi/artists/rackroom/450" target="_blank">originally published</a> way back on ArtSlant Chicago, in May, 2008, on the occasion of&nbsp; Mario Ybarra Jr.'s exhibition at the Art Institute of Chicago. The LA-based artist is known for his installations drawing from pop and street culture, including a recent solo show examining the mythos of Scarface at LA's Honor Fraser Gallery. Right now his work can be found <a href="http://nomadicdivision.org/exhibition/mario-ybarra-jr/" target="_blank">on a billboard in Mobile, AL</a>, part of Los Angeles Nomadic Division's Manifest Destiny Project.</strong></em></span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-size: medium; color: #000000; font-family: arial,helvetica,sans-serif;"> Mario Ybarra, Jr. is a LA-based visual and performance artist who has created room-sized installations all over the world and most recently right here in Chicago for the Art Institute of Chicago. This year Ybarra was also selected to participate in the Whitney Biennial. Beneath Ybarra's friendly demeanor lies a keen observer who is quick to expose visual rhymes in seemingly unrelated sources and to expand and build upon those connections until a cohesion is reached, or as he might say, a story. Ybarra graciously met with ArtSlant's Abraham Ritchie while putting the finishing touches on his installation at the Art Institute. Ever the raconteur, Ybarra talked about his native LA, baseball and King Arthur. Below is an excerpt of our conversation.</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-size: medium; color: #000000;"><img style="margin: 10px auto; vertical-align: middle; display: block;" src="/userimages/3151/PICT0018.JPG" alt="" /></span></p> <hr style="line-height: 26px; text-align: justify;" /> <p style="line-height: 26px; text-align: justify;"><span style="color: #000000;">&nbsp;</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-size: medium; color: #000000;"><strong><em>Abraham Richie: I think a lot of Chicagoans, and everyone, might want to know what the connection is between Southern Los Angeles, Catalina Island and Wrigley Field? It&rsquo;s kind of funny to think that Wrigley Field had a &ldquo;secret brother&rdquo; or something like that on the West Coast, because I am not sure that many people remember or know about this other Wrigley Field.</em></strong></span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-size: medium; color: #000000;"><strong>Mario Ybarra, Jr.:</strong> Well that&rsquo;s where this whole project started for me. About a year ago Lisa Dorin, the Assistant Curator in the Contemporary Art Department, asked me if I wanted to come up with a proposal to do a Focus project here at the Art Institute of Chicago, and I said I would think about it a little bit. The way that I try to work is that I try to make some kind of relationship between a personal experience, or my personal understanding or knowledge and the place that I show. I don&rsquo;t like the idea of coming in and claiming an expertise on a place that I know nothing about. I&rsquo;ve found that doing something that starts in the realm of the personal and then taking it out to another place and trying to make relationships between those two places is the most successful tactic for me. . . I try to make bridges, so to speak.</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-size: medium; color: #000000;">As a kid we would take trips out to Catalina Island, which is part of the Channel Islands, about 26 miles off the coast of Los Angeles. I remember part of the tour was the local history. They&rsquo;d always tell us that William Wrigley, Jr. owned Catalina Island and he had famous movie stars of the time going out there, like Clark Gable. His Chicago Cubs would go out and have their spring training there. The main town there is called Avalon and it gets its name from [Wrigley&rsquo;s] niece, who told [Wrigley] to name it that after the Avalon of King Arthur and the Knights of the Round Table and those stories. So it has this mythological side of it too. It has real histories, the local histories, of it being owned by Wrigley, and it has this mythological history through the King Arthur association. My studio back in LA is on Avalon Boulevard and they named [the street] that because that&rsquo;s where the boats used to take people out to Avalon Harbor on the island. I started doing research about that, I&rsquo;m like a de facto historian, and I found that Wrigley, along with owning the island, owned this other Wrigley Field that was in South Central Los Angeles on Avalon and 66th street. So we had the Avalon Harbor on Catalina Island, my studio on Avalon, this field that Wrigley owned was also on Avalon, I just kept following the line. I thought I could take this story from Avalon, to Avalon Boulevard, to my studio, to Avalon were the stadium was, to all the way down Highway 66 to Chicago and the Art Institute.</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-size: medium; color: #000000;">I&rsquo;m figuring out ways to make these relationships between historical figures like William Wrigley, who was important to historical cities like Los Angeles and Chicago, and bring these stories together somehow, make bridges between the stories. Between what I know and my experiences and the places that I go.</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-size: medium; color: #000000;"><strong><em>AR: Sports are the site of an obvious physical conflict and throughout the exhibit are interesting juxtapositions: the Mexican flag and the U.S. flag, the sword and the baseball bat, the fist of the Revolution and an image of a capitalist&rsquo;s private island. The history of the island reflects conflict as well, in the seventies it was occupied by the Brown Berets. How are sports, especially baseball, viewed both literally and metaphorically for this project, and the issues it raises?</em></strong></span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-size: medium; color: #000000;"><strong>MY:</strong> Well I have always thought of the history of baseball as particularly related to the United States. It&rsquo;s billed as &ldquo;the American Game;&rdquo; it&rsquo;s not really played around the world at all other than some Latin American countries, like the Dominican Republic where all these new players are coming from and where young people are specifically groomed to be ball players. But in relation to the United States, and this comes from the different things that I have watched or read, the developments of social movements in the United States almost always came ten years later than in the ball game itself. Baseball has been very slow to change, and it hasn&rsquo;t changed really over the few centuries its been played here. But it still has these kind of leading edges. Let&rsquo;s take for example the story of integration and civil rights. Jackie Robinson starts playing with the Brooklyn Dodgers in the 1950's and certain places, like schools, weren&rsquo;t integrated until the early sixties or late sixties. Baseball reflects a little bit in advance the kind of social movements that will happen in the United States.</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-size: medium; color: #000000;">Another thing that I think is very interesting in terms of conflict and it being a spectator sport, even though there are rival teams and most big cities have their own team, [there is a sense of unity]. Before professional baseball, each little town would have a team, even though there was a sense of rivalry or competition, the people were brought together as spectators to cheer on their team. So even though there was a site of conflict, it wasn&rsquo;t like it was Rome and gladiators were getting fed to lions [laughter]. There is a sense of sportsmanship [. . .]</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-size: medium; color: #000000;">Related to issues of capitalism and revolution, or acts of civil disobedience, there is a sense of teams. I play off that with the posters, we have here a baseball with two bats crossed, but instead of a regular team you have the Brown Beret guys who tried to occupy the island in 1972 so they&rsquo;re like &ldquo;the team.&rdquo; The idea of &ldquo;the team&rdquo; is important too and the metaphor of a team. The idea that everyone has their positions but also act as a unit is very important and is a metaphor for myself.</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-size: medium; color: #000000;"><img src="/userimages/3151/PICT0019.JPG" alt="" width="338" height="443" /></span></p> <p style="line-height: 26px; text-align: justify;"><br /><span style="font-size: medium; color: #000000;"><strong><em>AR: The idea of teams is also apparent in this wall of flags you have installed. What are the flags we have here?</em></strong></span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-size: medium; color: #000000;"><strong>MY:</strong> This is the state of Illinois&rsquo; flag. The flags are also stadium-esque, they always have them. The other thing, again about making relationships, is this is the state of Illinois&rsquo; flag, which has an eagle perched on a rock holding a shield and in his mouth is a banner. I thought that is very interesting, because over here is the Mexican flag, and again we have the eagle, this time perched on the cactus, and the snake in his mouth pretty much mimics the banner in the Illinois flag. Those kinds of aesthetic relationships and symbolic choices are very interesting.</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-size: medium; color: #000000;"><img style="margin: 10px; vertical-align: middle;" src="/userimages/3151/PICT0015.JPG" alt="" width="430" height="328" /></span></p> <p style="line-height: 26px; text-align: justify;"><br /><span style="font-size: medium; color: #000000;"><strong><em>AR: Even looking at the Illinois flag, that&rsquo;s more of an Aztec style eagle than a typical American-style eagle.</em></strong></span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-size: medium; color: #000000;"><strong>MY:</strong> Yeah. Those are the kinds of things I noticed in my visits to Chicago to prepare for this show, last year and earlier this year. I started seeing these kinds of relationships, like the Illinois flag&rsquo;s similarity to the flag of Mexico.</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-size: medium; color: #000000;">This row of flags will start off with the U.S. flag, the state of Illinois flag, Chicago flag, Los Angeles flag, state of California flag, and the Mexican flag. We have these different relationships between these two places starting with the cities and then going to the states. We have the state of Mexico flag, even though California is not part of Mexico, it used to be part of Mexico, but it&rsquo;s related to the histories that we have here. Catalina Island was occupied by the Brown Berets because in the Treaty of Guadalupe-Hidalgo, which separated the Southwest from Mexico after the Mexican-American War, the island wasn&rsquo;t specifically mentioned. This is why the Brown Berets tried to occupy it.</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-size: medium; color: #000000;">There are interrelationships between the two places [Chicago and LA]. I thought that was another kind of metaphor for the show, in terms of Wrigley being this character and starting with him, saying no man is an island, or no city, or no country or land is an island. They&rsquo;re all in relationship, in context, to their neighbors. Imagine if we thought that we could do everything, under our own power, we&rsquo;d get ourselves in trouble. We can talk about it in relationship to land, in relationship to people. Or no island is a man, we could even switch it.</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-size: medium; color: #000000;">I wanted to draw these kinds of relationships together, one between Los Angeles and Chicago, two between Mexico and the States, three between baseball and mythology. Different symbolic orders, things like ships or bubble gum.</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-size: medium; color: #000000;">&nbsp;</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-size: medium; color: #000000;"><em>ArtSlant would like to thank Mario Ybarra, Jr., Jenny Gheith and Lisa Dorin for their assistance in making this interview possible. Additional thanks to the Anna Helwing Gallery and the Art Institute of Chicago</em></span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-size: medium; color: #000000;">-<a href="http://www.artslant.com/global/artists/show/16747-abraham-ritchie?tab=REVIEWS"><span style="color: #000000;"> Abraham Ritchie</span></a></span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-size: x-small; color: #000000;">&nbsp;</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-size: x-small; color: #000000;">(Top image: <strong>Mario Ybarra Jr</strong>, Manifest Destiny Project billboard, 2014; Courtesy of LAND. All other images are installation views of <em>Take Me Out. . . No Man Is an Island</em>, 2008; Courtesy of the Artist)</span></p> <p style="text-align: justify;"><span style="font-size: medium; color: #000000;"><em>&nbsp;</em></span></p> <p style="text-align: justify;"><span style="color: #000000;">&nbsp;</span></p> <p style="text-align: justify;"><span style="color: #000000;">&nbsp;</span></p> Wed, 19 Mar 2014 21:52:42 +0000 http://www.artslant.com/cn/Articles/list http://www.artslant.com/cn/Articles/list F.A.T. Lab, F.A.T. GOLD Europe: Five Years of Free Art & Technology <p style="line-height: 26px; text-align: justify;"><span style="font-size: medium; color: #000000;">I crouched down, picked up a marker, and tried to remember the illegible scribble that used to be my &ldquo;tag&rdquo;: a gesture of sharp points and steady curves punctuated by a strategic line slashed through the whole inscription. In high school I would trace it onto book covers and notepads and think I was cool. It came to me eventually, the first delivery unsteady as I carefully considered which shapes fit where; in a second, more successful attempt, I let my arm do the work, confidently forging my mark in muscle memory.</span></p> <p style="line-height: 26px; text-align: justify;">&nbsp;</p> <p style="line-height: 26px; text-align: justify;"><img src="http://dbprng00ikc2j.cloudfront.net/userimages/3215/4yn/20140302140558-me_tagging.jpg" alt="" /></p> <p style="line-height: 26px; text-align: justify;">&nbsp;</p> <p style="line-height: 26px; text-align: justify;"><span style="font-size: x-small;">Yours truly, tagging the graffiti wall, <em>F.A.T. GOLD Europe</em>; Photo: Ben Harvey.</span></p> <div><span style="font-size: medium; color: #000000;"> <br /></span></div> <p style="line-height: 26px; text-align: justify;"><span style="font-size: medium; color: #000000;">I was in Eindhoven attending the Free Art and Technology (F.A.T.) Lab&rsquo;s exhibition <em>F.A.T. GOLD Europe</em>&nbsp;at <a href="http://www.mu.nl/" target="_blank">MU</a>, which ended in January. The show, which also took place in April last year at <a href="http://www.artslant.com/ny/venues/show/335-eyebeam?tab=VENUE" target="_blank">Eyebeam</a> in New York, was a sort of five-year anniversary round up of the Internet collective&rsquo;s practice. (F.A.T. Lab has now entered its seventh year, but the originally scheduled retrospective was put on hiatus in the aftermath of Hurricane Sandy.) But back to the incident at hand. Why, at an exhibition dedicated to a network ostensibly operating online, was I contributing my meager tag to a sanctioned graffiti wall?</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-size: medium; color: #000000;"><img src="http://dbprng00ikc2j.cloudfront.net/userimages/3215/4yn/20140302140845-installation_view1.jpg" alt="" /></span></p> <div>&nbsp;</div> <div><span style="font-size: x-small;"><em>F.A.T. GOLD Europe</em>, installation view, MU | De Witte Dame, Eindhoven; Photo: Andrea Alessi.</span></div> <p style="line-height: 26px; text-align: justify;"><span style="font-size: medium; color: #000000;">&nbsp;</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-size: medium; color: #000000;">The connection isn&rsquo;t so far fetched. Some of F.A.T. Lab&rsquo;s twenty-five <a href="http://fffff.at/people/" target="_blank">members</a>&mdash;an international network of artists, engineers, scientists, lawyers, and musicians&mdash;are themselves graffiti artists. Their core values, which include &ldquo;spreading open source and free ideals into popular culture&rdquo; through DIY entrepreneurship, open source, and activism, have more than a few intersections with street art. On the one hand, art on the Internet can be viewed through a street lens: it can bypass normal distribution channels, appealing directly to viewers. Turning the comparison on its head, street art can be seen as a form of &ldquo;hack&rdquo;&mdash;an unendorsed appropriation of space, medium, or idea.</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-size: medium; color: #000000;"><img src="http://dbprng00ikc2j.cloudfront.net/userimages/3215/4yn/20140302135918-ideas_worth_spreading.jpg" alt="" /></span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-size: x-small;"><strong>Evan Roth</strong><em>, <em><a href="http://fffff.at/ideas-worth-spreading/" target="_blank">Ideas Worth Spreading</a> (TED Talks)</em></em>, at MU | De Witte Dame, Eindhoven; Photo: Andrea Alessi</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-size: x-small;">&nbsp;</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-size: medium; color: #000000;">In his recent book, <a href="http://viralart.vandalog.com/read/" target="_blank"><em>Viral Art</em></a>, <a href="http://blog.vandalog.com/" target="_blank">Vandalog</a> blogger RJ Rushmore looks at how the future of street art, with its focus on &ldquo;unmediated distribution,&rdquo; might find a natural home in the digital domain. He uses the term &ldquo;Viral Art&rdquo; to describe both shareable and invasive online practices that have an affinity, if not a direct evolutionary line, to street art (n.b. &ldquo;Viral&rdquo; here implies a level of approachability that excludes some older forms of Internet Art. The pioneering duo JODI, for example, have a great exhibition at <a href="http://www.showroommama.nl/nl/" target="_blank">Showroom MAMA</a> in Rotterdam right now that isn&rsquo;t particularly accessible or viral). F.A.T. Lab&rsquo;s <a href="http://fffff.at/category/projects/" target="_blank">projects</a> don&rsquo;t always fall within the categories Rushmore outlines either&mdash;viewers may seek out content rather than encounter it serendipitously&mdash;yet they do open onto notions of self-dissemination, egalitarianism, activism, and anonymity. In fact, there are examples at MU of some of the <a href="http://viralart.vandalog.com/read/chapter/google-bombs/" target="_blank">very</a> <a href="http://viralart.vandalog.com/read/chapter/katsu-getting-up-in-digital-space/" target="_blank">works</a> discussed in Rushmore&rsquo;s text&mdash;namely, <a href="http://fffff.at/ideas-worth-spreading/" target="_blank"><em>Ideas Worth Spreading</em></a>, a mock-up TED Talk stage where visitors can record images of their own &ldquo;talk&rdquo; to share online, and <em>40,000 GML Tags</em>, a massive screen showcasing graffiti gestures in <a href="http://fffff.at/tag/gml/" target="_blank">GML</a>, or Graffiti Markup Language, &ldquo;a file format designed to be a universal structure for storing digitized graffiti motion data.&rdquo;</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-size: medium; color: #000000;"><img src="http://dbprng00ikc2j.cloudfront.net/userimages/3215/4yn/20140302140719-kopyfamo.jpg" alt="" /></span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-size: medium; color: #000000;"><span style="font-size: x-small;">Geraldine Juarez, <a style="font-style: italic;" href="http://fffff.at/kopyfamo-free-copyright/" target="_blank">Kopyfamo'</a>, watermark on mirror, at MU | De Witte Dame, Eindhoven; Photo: Andrea Alessi</span><em> <br /></em></span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-size: medium; color: #000000;"><span style="font-size: x-small;">&nbsp;</span></span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-size: medium; color: #000000;">Some F.A.T. Lab projects exist in the real world, others are strictly manifest online, and many straddle the two&mdash;that is, projects shaped in the real world and shared online. The MU exhibition, curated by <a href="http://www.lindsayhoward.net/" target="_blank">Lindsay Howard</a>, highlighted them all, offering documentation, online viewing stations, and even physical objects and artworks. Where <em>F.A.T. GOLD</em> differed from the typical exhibition was that most works were not autonomous objects, but rather reproducible examples of a wider practice. Motivated viewers could (and can) recreate many of these works on the web or at home*, and the materials for some projects, like an <a href="http://fffff.at/obama-google-glass-prism-mask/" target="_blank">Obama PRISM mask</a>, were even available at the exhibition.</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-size: medium; color: #000000;"><img src="http://dbprng00ikc2j.cloudfront.net/userimages/3215/4yn/20140302140049-free_universal_construction_kit.jpg" alt="" /></span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-size: x-small; color: #000000;"><em>F.A.T. GOLD Europe</em>, installation view with&nbsp;<a href="http://fffff.at/free-universal-construction-kit/" target="_blank"><em>Free Universal Construction Kit</em></a>, MU | De Witte Dame, Eindhoven; Photo: Andrea Alessi</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-size: x-small; color: #000000;">&nbsp;</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-size: medium; color: #000000;">Good fun is always on the menu: in <em>F.A.T. GOLD</em> there was a sub-genre of works touting the douchiness of Google Glass and its adopters, and a presentation of Greg Leuch&rsquo;s viral Add-on <a href="http://fffff.at/shaved-bieber/" target="_blank"><em>Shaved Bieber</em></a>, which censors all mentions of Justin Bieber online (earning Leuch more than a little hate mail from teenage fans). But some of the best and most shareable projects are greater than their capacity for the lulz. The <a href="http://fffff.at/free-universal-construction-kit/" target="_blank">Free Universal Construction Kit</a> is a set of adapters that makes ten brands of children&rsquo;s construction sets, like Lego and K&rsquo;Nex, interoperable. It&rsquo;s eminently cool/novel/clever, but it also visualizes the ways in which childhood playthings ostensibly meant to spark creativity are limited by proprietary measures. The F.U.C.K. undermines these protective implements, removing barriers to cross-trademark creativity. The exhibition featured a complete set of adapters, a construction/play station, and a 3D printer that staff members kindly set to printing new pieces whenever visitors turned up. (3D models of the adapters in .STL format are available online for <a href="http://www.thingiverse.com/uck/designs" target="_blank">free download</a>.)</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-size: medium; color: #000000;"><img src="http://dbprng00ikc2j.cloudfront.net/userimages/3215/4yn/20140302140151-facebook_id_card.jpg" alt="" /></span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-size: medium; color: #000000;"><span style="font-size: x-small;"><strong>Tobias Leingruber</strong>, <em><a href="http://fffff.at/tag/fb-bureau/" target="_blank">Facebook Identity Card</a></em>, video presentation of ARTE Creative, <em><a href="http://fbbureau.com/" target="_blank">Social ID Bureau</a></em>, 2012,&nbsp;portrait of Mark Zuckerberg,&nbsp;at MU | De Witte Dame, Eindhoven; Photo: Andrea Alessi</span><em> <br /></em></span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-size: medium; color: #000000;"><em>&nbsp;</em></span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-size: medium; color: #000000;">F.A.T. Lab&rsquo;s perspective seems carefully poised between an irreverent techno-optimism (&ldquo;look at these cool things we can do!&rdquo;) and deep skepticism at the ways in which technologies can be regulated, marketed, and used for power and control. Given these positions, in which use of certain technologies seems self-evident, it&rsquo;s easy to forget that not everyone has access to the distributional paradigm shift that is the digital domain. Rushmore&rsquo;s account also overstates viral art&rsquo;s present accessibility: an encounter with this type of work is more likely to be spread within specific enclaves of Internet activity, with limiting factors being not geography, but usage. The case for &ldquo;unmediated&rdquo; distribution is further undermined by the cryptic algorithms used by Facebook and Google for post placement and search results&mdash;the very systems F.A.T. Lab exploits when images of their fake TED Talks turn up in search results. In a destabilizing twist, F.A.T. Lab often coopts the very technologies and systems it protests (or defends).</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-size: medium; color: #000000;"><img src="http://dbprng00ikc2j.cloudfront.net/userimages/3215/4yn/20140302140313-skatekeyboard.jpg" alt="" /></span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-size: medium; color: #000000;"><span style="font-size: x-small;"><strong>Tobias Leingruber</strong>, <em><a href="http://fffff.at/skatekeyboard/" target="_blank">Skatekeyboard</a></em>, keyboard attached to skateboard deck,&nbsp;at MU | De Witte Dame, Eindhoven; Photo: Andrea Alessi</span><em> <br /></em></span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-size: medium; color: #000000;"><em>&nbsp;</em></span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-size: medium; color: #000000;">In a way, that&rsquo;s why it was such a treat to see some of F.A.T. Lab&rsquo;s works in physical form, Away From Keyboard as it were. <em>F.A.T. GOLD</em> did a great job of making works and ideas accessible to people who might not be tech-savvy or know what terms like &ldquo;net neutrality&rdquo; and &ldquo;Open Web&rdquo; mean. Or those who aren&rsquo;t necessarily ready to accept or understand this sort of practice as &ldquo;art.&rdquo; The exhibition was forward looking, but also rooted in the past and present&mdash;a thought-provoking bridge between time, technologies, and disciplines. Be it in a subway tunnel or on a homepage, a mark on the wall is a sign of presence; it can be a declaration of ego, of resistance. Or like my clumsy signature, it can be an affirmation, a &ldquo;Like&rdquo; or an &ldquo;upvote&rdquo;: I was here, with so many others, and I want to be counted.</span></p> <p><img src="http://dbprng00ikc2j.cloudfront.net/userimages/1538/2dh/20140303002936-compubody_interface.jpg" alt="" /></p> <p><span style="font-size: x-small;"><strong>Becky Stern</strong>,&nbsp;<em><em><a href="http://fffff.at/knitted-compubody-interface/" target="_blank">Knitted Compubody Interface</a>&nbsp;</em>(<a href="http://www.instructables.com/id/Laptop-Compubody-Sock/" target="_blank">knit one</a> yourself!), at MU | De Witte Dame, Eindhoven; </em>&copy; Photo: Andrea Alessi</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-size: medium; color: #000000;">&nbsp;</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-size: medium; color: #000000;">*The MU exhibition ended on January 26th, but interested readers can see the projects <a href="http://fffff.at/category/projects/" target="_blank">online</a> or in the new <a href="http://fffff.at/the-fat-manual/" target="_blank"><em>F.A.T. Manual</em></a> (available for purchase or <a href="http://www.lulu.com/shop/domenico-quaranta-and-geraldine-ju%C3%A1rez/the-fat-manual/ebook/product-21251172.html" target="_blank">free download</a>), released on the occasion of the exhibition and the collective&rsquo;s five-year anniversary.</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-size: medium; color: #000000;">&nbsp;</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-size: medium; color: #000000;">&mdash;Andrea Alessi</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-size: medium; color: #000000;"><img src="http://dbprng00ikc2j.cloudfront.net/userimages/3215/4yn/20140302141000-installation_view3.jpg" alt="" /></span></p> <div>&nbsp;<span style="font-size: x-small;"><em>F.A.T. GOLD Europe</em>, installation view, MU | De Witte Dame, Eindhoven; Photo: Andrea Alessi</span></div> <div><span style="font-size: x-small;">&nbsp;</span></div> <div><span style="font-size: x-small;">Image on top: <em>F.A.T. GOLD Europe</em>, installation view, MU | De Witte Dame, Eindhoven; Photo: Andrea Alessi.<span style="color: #000000;">]</span></span></div> <p>&nbsp;</p> <p>&nbsp;</p> <p>&nbsp;</p> Mon, 03 Mar 2014 00:40:07 +0000 http://www.artslant.com/cn/Articles/list http://www.artslant.com/cn/Articles/list