ArtSlant - Openings & events en-us 40 Aniara Omann - CCA - Centre for Contemporary Arts (Glasgow) - August 22nd 7:00 PM - 9:00 PM <p>This solo-exhibition by Aniara Omann consists of a series of found objects, with fabricated prosthetics applied to them. The prosthetics are cast-latex, mimicking the aesthetics and techniques of movie-prop fabrication, and widely used for creating special effects in Sci-fi and Fantasy films.</p> <p>The fabricated prosthetics take the form of a second skin and make reference to something latent within the objects they are applied to. The objects themselves exist as elements in the individual&rsquo;s close and wide contexts; political, natural or social.</p> <p>Movie prosthetics usually and ideally exist as invisible entities within the films they are used in. They function to enhance the identity of the character they are attached to, as well as strengthen a sense of realism within the fiction.</p> <p>Taken outside the context of a film, the illusion that the props are designed to create is extended out into ' the real world'. In this exhibition, the function of the prop is reversed, pointing to an obscured human relationship with the objects, as they will be taken out of their usual parts as supporting roles and given the lead instead.</p> <p>Aniara Omann has studied at The Funen Art Academy (DK), and Glasgow School of Art.</p> Fri, 15 Aug 2014 22:58:06 +0000 Ida Kvetny - GALLERI CHRISTOFFER EGELUND - August 22nd 5:00 PM - 8:00 PM Thu, 14 Aug 2014 00:07:26 +0000 Group Show - Lawndale Art Center - August 22nd 6:30 PM - 8:30 PM <p>The Texas Sculpture Group presents an exhibition illustrating the excellent quality and diversity of contemporary sculpture in Texas curated by James Surls. The exhibition is dedicated to and in memory of late TSG Members Lee Littlefield, Bert Long, Jr. and Damian Priour, whose work is also featured in the exhibition. With eighty plus artist members, the exhibition is an opportunity for viewers to see the breadth of sculptural practice and diversity of media taking place all over the state: from bronze casting to video and performance, from site specific installations to light and sound to craft bombing. The exhibition acts as a catalyst for a conversation about what is Texas sculpture and the evolution that technology has had on contemporary practice.</p> Sat, 02 Aug 2014 23:48:49 +0000 Jason S. Yi - Madison Museum of Contemporary Art - August 22nd 6:00 PM - 9:00 PM <p>A site-specific exhibition by Jason S. Yi will be on view in the State Street Gallery and lobby of the Madison Museum of Contemporary Art from August 23 to November 9, 2014.<em>&nbsp;Jason S. Yi: A Fragile Permanence&nbsp;</em>draws on phenomenology, contemporary installation, and the art historical tradition of landscape painting. From the spiritual significance of East Asian mountain peaks to the rugged sublimity of the American West, Yi taps into cultural mythologies of landscape as a point of departure to address visual perception, physical experience, and cognitive uncertainty.</p> <p>Jason S. Yi is known for his remarkable ability to transform utilitarian materials into awe-inspiring installations that resemble mountains and other tectonic landforms. He has exhibited nationally and internationally in places such as New York, Philadelphia, Washington DC, Chicago, Los Angeles, Japan, China, South Korea, Vietnam, Italy, and Austria.&nbsp;MMoCA has long been an enthusiastic supporter of Yi&rsquo;s artistic practice: his work has appeared in numerous&nbsp;<em>WisconsinTriennial</em>exhibitions, and his iconic sculpture made from PVC tubing and connectors,<em>&nbsp;Legend of the White Snake</em>, was installed for two years on the museum&rsquo;s rooftop sculpture garden.</p> <p>As a major component of the exhibition, Yi is building a massive three-dimensional structure spanning the length the museum&rsquo;s State Street Gallery. From a distance it will look like a mountainous, snow-covered landform emerging from the floor. As visitors approach the imposing sculpture, its humble materials and seemingly unstable construction will become increasingly apparent. With an internal network of wooden slats haphazardly nailed together and vertical strips of white Duct Tape overlaying the surface, this regal monolith, white and pristine from afar, gradually morphs into an odd jumble of everyday materials. The perceived fragility of the work&rsquo;s physical structure further undermines the symbolic gravitas of its impressive monumentality, thereby complicating the symbolic purity, endurance, and power of the natural world. In purposely subverting our assumptions, Yi surprises and bewilders; his work exposes the experiential effect of expectation on how we subsequently interpret the world.</p> <p>The exhibition also includes a series of extensive line &ldquo;drawings&rdquo; made with highly reflective, metallic tape. Angled and geometric, the tape wends a jagged path across the surrounding walls and windows, even extending onto the gallery floor to interrupt the path of visitors. The tape&rsquo;s mirror-like surface offers viewers a distorted image of their own reflection, thereby prompting a heightened awareness of one&rsquo;s physical presence within the space. Refracting both ambient and artificial light, the shimmering drawing, though static, creates an environment that appears to be in a constant state of flux. Yi even pushes the scope of his project beyond the gallery, moving onto the lobby&rsquo;s prominent front wall. Again, he presents a series of artworks that hint at natural geologies while seeming to defy earth&rsquo;s material constraints. A large silver sculpture, impossibly heavy in appearance, rests easily on top of a thin, wall-mounted shelf. The object&rsquo;s apparent weightlessness is in direct conflict with its substantial heft.</p> <p>From the rigorously erected yet rickety wooden structure, to the immobile but ever-evolving drawing, and to the anti-gravitational mass of the lobby sculpture, the physical contradictions embodied by each of the altered materials elicit a momentary disconnect between perception and cognition. Mistaking appearance for reality, our confidence in the world around us becomes destabilized.</p> <p>During the entire three-week installation period, from August 4 through August 21, the artist&rsquo;s relationship with museum passersby will serve as an integral part of the exhibition. The gallery&rsquo;s huge windows onto State Street render the space literally transparent, prompting Yi to engage with the psychology of curiosity and audience expectation. Although the windows naturally reveal the project&rsquo;s evolution, the artist will erect a translucent veil to surround his sculptural centerpiece. By presenting the gallery as a stage to be observed from the street but obstructing the view, he heightens anticipation while thwarting gratification. Rather than a satisfying spectacle to behold, Yi&rsquo;s &ldquo;non-performance&rdquo; teases his audience, making them aware of their outsider status. Further playing with this push and pull between concealment and exposure, anticipation and disappointment, and the informed versus the uninitiated, videographer Aaron Granat will create a series of short videos that offer an enticing glimpse into installation process. Released in periodic succession, the videos will be screened on the lobby&rsquo;s flat screen monitor and uploaded onto the museum&rsquo;s website.</p> <p>Jason S. Yi: A Fragile Permanence demonstrates the artist&rsquo;s remarkable ability to transform materials and their surrounding architecture into an enveloping perceptual experience. On a deeper level, however, the exhibition interrogates the ambiguous domain of cultural identity. Yi and his family immigrated to the United States from South Korea when he was eleven years old. Growing up in a culturally Asian household on American soil made Yi acutely aware of the complexities surrounding place and identity. The simultaneous push toward American acculturation and nostalgic pull of his Korean heritage culminates in an unresolved tension, placing Yi in space of cultural displacement or in-betweeness.</p> <p>A sense of uncertainty pervades his work: fusing the synthetic with the organic, he defamilarizes both the common materials he uses and the recognizable imagery to which his installations allude. Yi&rsquo;s constructed landscapes are not just conceptual plays on the visible world. As disorienting spaces full of visual contradictions, they convey the shifting inner landscape of the artist's hybrid identity. &nbsp;</p> Fri, 01 Aug 2014 06:40:24 +0000 David Antonio Cruz, Carlee Fernandez, Maria Martinez-CaƱas, Rachelle Mozman, Karen Miranda Rivadaneira, Michael Vasquez - National Portrait Gallery (Smithsonian Institution) - August 22nd 11:30 AM - 7:00 PM <p>&ldquo;Portraiture Now: Staging the Self&rdquo; features the work of David Antonio Cruz, Carlee Fernandez, Mar&iacute;a Mart&iacute;nez-Ca&ntilde;as, Rachelle Mozman, Karen Miranda Rivadaneira, and Michael Vasquez, all artists of Latino background, who make us aware of how identities are constructed and negotiated via portraiture. Seeking to relieve portraiture of its charge to memorialize individuals and convey essential aspects of their identities, they use it instead to explore the ambiguities and changes in individual character. Theatricality is central to their inquiry, as they represent narratives remembered or imagined from their own family histories, or superimpose portraits of their loved ones over themselves, looking for what is shared or unique in individuality, searching like an actor for a character. As they present themselves in a staged manner, portraiture loses its aura of certainty, and becomes an evolving map for finding oneself and others.&nbsp;</p> Sat, 02 Aug 2014 02:27:52 +0000 Wade Marynowsky - NGV (National Gallery Victoria) The Ian Potter Centre - August 22nd 10:00 AM - 5:00 PM <p>NGV Studio hosts an extraordinary exhibition where visitors are greeted by a group of bizarre interactive human-like robots let loose in the foyer of NGV Australia.</p> <p>Dr Wade Marynowsky is an anti-disciplinary artist who works across robotics, immersive and interactive installation, performance, music and video. His practice typically draws on technology and programmed structures to create works that straddle humour, high-camp and a host of unnerving thematic orientations to absorbing effect.</p> <p><em>Nostalgia for Obsolete Futures</em>&nbsp;gives an insight into Marynowsky's remarkable artistic practice. It includes interactive robotics, sound sculpture, audiovisual installations and performances. It also reveals a surprising and dramatic new work that Marynowsky is developing at NGV Studio during the course of the exhibition.</p> Wed, 06 Aug 2014 06:57:37 +0000 Yason Banal - The Drawing Room - Singapore - August 22nd 6:00 PM - 8:00 PM <p>The tension between the history of artifice and the life of materials lies at the dead center of Yason Banal&rsquo;s exploration of things. These are inflected things, informed by either finical facture or irresistible weathering. However they are formed, these things are subjected to various degrees of expenditure: the force they keep is expended in one way or another, slowly but surely, and irresistibly so. That said, such an expenditure elaborates on the substance of the things, or make them so elaborate, to the point that the latter are exceeded by this surplus, so thoroughly transformed that they disappear &ndash; worked on, layered, and inevitably replaced by the prostheses of the supplement. This process may well ensure a third moment, one that follows the sequence of finding the thing, morphing it, and then intuiting its changeling potential...</p> <p>&nbsp;</p> <div align="center"><hr align="center" size="2" width="100%" /></div> <p>In <em>on just land patterns of drift will nature make a man of me</em>, Banal pursues the elusive deep structure of the global image, the abstractions of its capital, and the stamina of the labor to keep up with its persistent algorithms and afterlives. In dispersing the density of appearances and the basis of their permutations and simultaneously compromising the condition of reproducibility by way of virtual design, this image loses much of its ground, as it were. Banal encroaches on the various methods of this hectic interfacing across wired borders and finally drifts into the nature of a hopefully still human world. The attempt to recover a level of land and pattern may, at last, require the incursion of the political, a horizon that can no longer be transcended.</p> Tue, 19 Aug 2014 08:21:40 +0000 Sam Smith - The Royal Standard - August 22nd 6:00 PM - 9:00 PM <p>Encompassing video, film, sculpture, architectural elements and printed material Sam Smith&rsquo;s exhibition titled Frames of Reference is a viewpoint on the relationship of sculpture to film and video. The artist deploys a selection of current and historic moving image formats to inspect how objects (animate and inanimate) are framed within the cinematic lens. Central to the show is Form Variations (2014), a video installation where objects, figures and locations are configured into a series of composed vignettes. Shot in CinemaScope, which Fritz Lang described as only good for &ldquo;snakes and funerals&rdquo; in Le M&eacute;pris (Jean-Luc Godard, 1963), the work uses the 2.39:1 frame to present a cinematic view on three-dimensional form. Key to the video is a re-imagining of the opening shot from Michelangelo Antonioni's L'Eclisse (1962) where the character of Riccardo's arm transitions in appearance between body and sculpture. Expanding from the core installation are a number of works that offer broader thematic insights. Among them is Negatives (2013), a diptych of filmed forms reflecting historical attempts to capture sculptural form on film.<br /> <br /> Linked to The Royal Standard&rsquo;s current theme of research, Smith presents his recently published monograph also titled Frames of Reference. Included in the book are written contributions from Jan Verwoert and Post Brothers, in-depth artwork documentation, substantial analysis of past projects and new image work devised specifically for the publication.<br /> <br /> As an adjunct event, Smith will perform &lsquo;Notes on the Apparatus&rsquo; at Kitchen Street. The live video essay is performed as a stream of collaged audio-visual clips within the basic functionality of a computer operating system. Using prepared film, video and image material collected from online and offline sources, the artist draws together reference points on cinematic language key to his practice. More details of this event will follow shortly.&nbsp;<br /> <br /> Sam Smith works across sculptural construction and moving image, in an exploration of filmic language and its relationship to object. Intersecting the formal and conceptual frameworks that have previously separated these artistic disciplines he invests film and video with ideas relating to three-dimensional space while expanding object-based work into temporal territory, asking us to rethink sculpture as montage and cinematic editing as object construction.<br /> <br /> <em>Smith's recent solo exhibitions and performances include 'Notes on the Apparatus' selected by Vdrome for the Artists' Film Biennial, Institute of Contemporary Arts, London (2014); 'Form Variations', K&uuml;nstlerhaus Bethanien, Berlin (2014); 'Frameworks', 3+1 Arte Contempor&acirc;nea, Lisbon (2013); 'Cameraman' Art Gallery of New South Wales, Sydney (2011). He has participated in numerous group shows including 'Online/Offline. Encoding Everyday Life for Vorspeil Transmediale', Altes Finanzamt, Berlin (2014); 'Oblivion', Zweigstelle Berlin (2014); 'Conquest of Space', COFA Galleries, Sydney, Australia (2014) and 'Larger than life', Tempor&auml;ra Konsthallen, Stockholm (2013); 'Framed Perceptions', Sinne, Helsinki (2013).</em><em><br /> <br /> </em></p> Tue, 19 Aug 2014 08:53:10 +0000 Robin Myers - Galveston Arts Center - August 23rd 6:00 PM - 9:00 PM <p><strong><br />Robin Myers</strong>, a Houston-born artist, uses photography to make connections between our scientific understanding of the world and our human experience of it as expressed in every-day phenomena.&nbsp; She reveals the stars on a marble surface, the Fibonacci sequence in hands and hair, the miracle of photosynthesis in algae emerging from the deep.&nbsp; The crux of "Unknown Constellations" rests on photography's ability to mimic a reality that shifts seamlessly between concrete and abstract, between microscopic and cosmic. How we see and look at the world shapes the way we experience it, just as our experiences and emotions shape the way we see it.</p> Sat, 09 Aug 2014 23:44:42 +0000 Keliy Anderson-Staley - Galveston Arts Center - August 23rd 6:00 PM - 9:00 PM <p><strong>Keliy Anderson-Staley </strong>presents a series of tintypes taken of subjects from around Houston. The images were created using chemistry mixed according to nineteenth-century recipes, period brass lenses and wooden view cameras. The work shows a broadly diverse collection of faces. The photographic technique requires long exposures, during which the sitter becomes deeply aware of the image they are projecting of themselves. The result prompts us to examine the role that photographic technologies have played in defining identity throughout history.</p> Sat, 09 Aug 2014 23:47:31 +0000 Norma Bassett Hall - Jordan Schnitzer Museum of Art - August 23rd 11:00 AM - 5:00 PM <p>This special exhibition presents a spectrum of the Oregon-born Hall&rsquo;s twenty-five year career as a printmaker. It is the first solo exhibition of Hall&rsquo;s work since her death in 1957, the first time that more than sixty of her prints have been gathered for exhibition, and likely the first time prints by her have been exhibited in Oregon since 1930.</p> Sat, 16 Aug 2014 02:59:06 +0000 Shinique Smith - Museum of Fine Arts Boston - August 23rd 10:00 AM - 4:45 PM <p>For the past decade, Shinique Smith (American, born in 1971) has been internationally admired for exuberant paintings, sculpture, and large-scale installations that capture the power of human expression and resilience. Whether in graffiti, calligraphy, and vibrant sweeping strokes on canvas; patterned clothing densely clustered or hung as human forms; or even full-body impressions pressed in ink against walls, her works reflect intersecting forces&mdash;of personal history, influence, and energy. &ldquo;Shinique Smith: BRIGHT MATTER&rdquo; surveys 30 key works from the past decade while debuting more than a dozen new pieces, including painting, sculpture, full-room installation, video, and performance. The exhibition marks a significant return to Boston for Smith, who completed her Masters in Teaching at the School of the Museum of Fine Arts and Tufts (2000) while working full-time with high school students. Her exhibition at the MFA fosters new connections to the Boston community, inspiring family art activities at the Museum, projects with the MFA's Teen Arts Council, and more.</p> Fri, 15 Aug 2014 23:15:27 +0000 Helen Kocis Edwards, Rebecca Young, Andrej Kocis - No Vacancy Fed Square: Project Space - August 23rd 6:00 PM - 8:00 PM <p style="text-align: justify;">What happens when the first and last sentences of favourite books are placed together and explored through drawing, printmaking, painting and animation?&nbsp;Does the last line meet the path from which the story began or are new meanings and ways of seeing discovered? Helen Kocis Edwards, Andrej Kocis and Rebecca Young invite the public via Facebook and artist run sessions at No Vacancy Gallery during MWF 2014 to contribute a title, author and the first and last line to create another chapter in the journey of their much loved book.</p> <p style="text-align: justify;">Helen Kocis Edwards&nbsp;responds to the selection with text and ink and water colour. Andrej Kocis responds by through the production of a stop motion film, while Rebecca Young creates an&nbsp;animation that audience members can interact with using an AUUG motion synth controller (<a href="" rel="nofollow nofollow" target="_blank"></a>).</p> <p style="text-align: justify;">This community-authored project, including participants of all ages and demographics, creates the possibility for a broad array of books to be represented. By following a path of ideas, the imagery and concepts held within the lines and the physicality of the pages and text can interact and evolve into a changed existence creating another chapter in the journey of the book.</p> <h3>Artist run sessions</h3> <p>Fridays to Sundays Aug 21 &ndash; 31 &nbsp;|&nbsp;12 noon &ndash; 2pm</p> <p>Come along to an Artist Run Session with the first and last lines of a favourite book. Add these to the installation by writing them on specially prepared book pages.</p> Fri, 22 Aug 2014 17:53:42 +0000 Daniel Murgel - Portas Vilaseca Galeria - August 27th 7:00 PM - 9:00 PM Thu, 14 Aug 2014 00:47:04 +0000 Group Show - White Rabbit Gallery - August 27th 10:00 AM - 6:00 PM <p>For most of China&rsquo;s 1.3 billion people, the struggles of daily life are far more pressing than politics. They may long to escape the jostling crowds, but they find strength and solace in others, too&mdash;and they suffer when human connections break, leaving them lost and alone.</p> <p>COMMUNE brings together the responses of some of China&rsquo;s most exciting contemporary artists to the pleasures and pains of the human drama, exploring realities that outsiders may&nbsp;never have experienced directly, yet instinctively understand. Their takes are solemn, funny, beautiful, bizarre; often uniquely Chinese, yet&nbsp;always deeply human.</p> <p>Highlights include:</p> <ul> <li>Bai Yiluo&rsquo;s<em>&nbsp;Spring and Autumn 1&nbsp;</em>(2007), above, a tree whose branches are old and new farm tools</li> <li><em>2010&nbsp;</em>(2010-11), in which Xia Xing, a former printer, documents an entire year in 60 oil paintings of newspaper photographs</li> <li><em>The Static Eternity</em>&nbsp;(2012), a perfect recreation of the simple rural home of Gao Rong&rsquo;s late grandmother, made entirely from embroidered cloth</li> <li><em>The Remnants of Images&nbsp;</em>(2013), by Hu Jieming, ordinary-looking archival cabinets containing softly animated historical and&nbsp;contemporary photographs</li> <li>Ai Weiwei&rsquo;s 500 kg of porcelain&nbsp;<em>Sunflower Seeds&nbsp;</em>(2010), created by an entire community and a striking&nbsp;metaphor for the relationship between the individual and the collective</li> <li><em>Everything from Nothing</em>&nbsp;(2013), in which Wang Lei reflects on a verse from the Tao Te Ching by cutting out the faces and datelines, and literally knitting together the stories, from a year&rsquo;s worth of newspapers.</li> </ul> <p>&nbsp;</p> Sat, 23 Aug 2014 00:25:48 +0000 Agathe de Bailliencourt - Art Plural Gallery - August 28th 6:00 PM - 9:00 PM <p>Art Plural Gallery is pleased to announce&nbsp;<em>Water, Colour, Recordings</em>, the solo exhibition of French Berlin-based artist Agathe de Bailliencourt running from August 29 to October 3, 2014 at Third Floor - Art Plural Gallery. The exhibition unveils the new series&nbsp;<em>Couleur du Temps.</em>&nbsp;</p> <p>Agathe de Bailliencourt&rsquo;s exhibition deals with the question of horizon, as one of painting&rsquo;s most basic acts in defining time, space, and a scale of infinity. By applying an extended version of watercolor-technique on untreated linen canvas, de Bailliencourt turns the perspective of a romantic tradition of landscape painting, the imagination of a distant past, towards an open futurist vision.&nbsp;</p> <p>The untreated linen fiber reacts to the painting material in an extremely sensitive and almost uncontrollable way. At the same time, every action is irreversibly visible, laying bare the entire procedure of producing an image of a landscape.&nbsp;</p> <p>Through an elaborate method of repetitive movements, of slow sedimentation of color and of recording the process itself, the artist establishes the landscape with a single horizontal line, reminding the work of Hiroshi Sugimoto. The paintings are built up as a complex layering of somehow responsive shades of color.&nbsp;</p> <p>More than creating an image, Agathe de Bailliencourt creates a context, an environment that is open for the viewer. In her own words, the artist sees the work as an intuitive exploration for an area that shifts the experience of materiality and depth towards something beyond, something beyond inside and outside.&nbsp;&nbsp;</p> Sat, 26 Jul 2014 22:28:38 +0000