ArtSlant - Recently added en-us 40 Cabelo - A Gentil Carioca - March 30th - May 15th Sun, 29 Mar 2015 13:50:02 +0000 Jim Shaw - Mass MOCA - March 28th - February 7th, 2016 <p style="text-align: justify;"><strong>MASS MoCA Presents Jim Shaw's Largest U.S. Exhibition</strong><br /><br />Since the 1970s, Jim Shaw has created a vast body of work spanning diverse media and reference points. Shaw&rsquo;s work mines the essentials of American cultural detritus, from comic books, pulp novels, and album covers, to vintage advertisements, movie posters, and noise rock. Originating from these sources, the work often features recurring characters including himself, his friends, fictional superheroes, politicians, and film stars. Combining text and the painted figure with objects and drawings from his unconscious, Shaw&rsquo;s works consistently illustrate purposely bad puns, while twisting politics, religion, and belief into one long dream sequence.&nbsp;</p> <p style="text-align: justify;">For the exhibition at MASS MoCA, Shaw will focus on over-arching themes of fallibility &ndash; fallen heroes, collapsed economies and political figures, and the idea of sin and doomsday predictions. The centerpiece of&nbsp;<em>Entertaining Doubts</em>&nbsp;will be a series of large-scale paintings that Shaw began in 2004, utilizing old theatrical backdrops that he cuts apart. Turning painting into architecture, these works essentially function as political cartoons, populated by figures such as Barbara Bush, 20th-century religious prophet Aleister Crowley, and Dan Quayle, with themes ranging from the seven deadly sins and the four horsemen of the apocalypse to the great deluge. Continuing this series for MASS MoCA, Shaw will create a new work,&nbsp;<em>Not Since Superman Died</em>. Using a 24x49-foot shredded backdrop, this piece will focus on an injured and endangered Superman along with video imagery of floods. The superhero in peril is a well-known motif, but here Shaw never shows us the heroic escape, turning Superman into a mere mortal.&nbsp;</p> <p style="text-align: justify;">In addition to these banner works, Shaw will also exhibit additional paintings and objects as well as a series of films relating to his&nbsp;<em>Oism</em>&nbsp;project. &ldquo;Oism&rdquo; is a false religion created by Shaw, one that draws from the history of American religious practices from Mormonism to Scientology. Supposedly founded in the 1840s by Annie O&rsquo;Wooton, who discovered a prophesy about &ldquo;O,&rdquo; Shaw&rsquo;s religion centers on a virgin who gave birth to herself at the dawn of history and brought writing and agriculture to society. &ldquo;I&rdquo; &ndash; a stand-in for patriarchy/ego &ndash; eventually toppled this matriarchal religion. Shaw weaves a believable tale, but mostly presents us with the idea that his religion, like all religions, comes from the imagination of its inventor. In this way, Shaw can criticize what has become the business of faith in contemporary society. The films in this series vary &ndash; one is part of a prog-rock opera light show; another has a 1970s earth mother performance vibe to it, recalling early experiments with modern dance; a third echoes low-budget horror film dream sequences; and a fourth records a men&rsquo;s secret society initiation ritual.&nbsp;<br /><br />Whether through paintings, video, or objects, Shaw&rsquo;s work steadfastly reminds us that the end is near and that reality is absurdly plausible.&nbsp;</p> <p style="text-align: justify;">Jim Shaw (born 1952 in Midland, Michigan) lives and works in Los Angeles, CA. He received his B.A. from the University of Michigan, Ann Arbor, and his M.F.A. at the California Institute of the Arts. His work has been shown extensively and has been the subject of numerous solo exhibitions, including a career retrospective at the Baltic Centre for Contemporary Art, Gateshead, UK; CAPC, Musee de&rsquo;Art Contemporain de Bordeaux, France; MoMA PS1 Contemporary Art Center, Long Island City, NY; Magasin, Centre National d&rsquo;Art Contemporain, Grenoble, France; ICA, London; and Musee d&rsquo;Art Moderne et Contemporain, Geneva, Switzerland. Shaw exhibited at the Encyclopedic Palace in the 55th Venice Biennale, Venice, Italy; Museum Boijmans van Beuningen, Rotterdam, the Netherlands; and the Chalet Society, Paris, France. His work is also featured in prominent public and private collections, such as the Museum of Modern Art, NY; the Solomon R. Guggenheim Museum, NY; the Los Angeles County Museum of Art; and the Walker Art Center, Minneapolis, MN. Shaw is represented by Blum &amp; Poe, Metro Pictures, Simon Lee Gallery, and Praz-Delavallade, Paris.&nbsp;</p> <p style="text-align: justify;"><em>This exhibition is supported by the Horace W. Goldsmith Foundation, the Massachusetts Cultural Council, Blum &amp; Poe, Metro Pictures, Simon Lee Gallery, Atelier 4 Inc., and ArtNet.</em></p> Fri, 27 Mar 2015 15:52:19 +0000 ABOVE - Metro Gallery - June 8th, 2012 - July 2nd, 2012 <p>A solo exhibition at Metro Gallery in Melbourne, Australia 2012</p> Wed, 25 Mar 2015 11:31:34 +0000 Group Show - MCA DENVER - May 14th - June 28th <p>Thief Among Thieves is a group exhibition featuring the work of more than twenty artists working in a broad range of styles and media. Rather than surveying a single theme, the exhibition instead draws connections between the world of art and the world we live in. The title is drawn from the idea that artists continually borrow from the world around them &ndash; &rdquo;stealing&rdquo; from both art history and from any place&ndash;past or present, real or imagined.<br />Artists featured in the exhibition include: Matthew Brandt, Miguel Calder&oacute;n, Cynthia Daignault, Sam Falls, Theaster Gates, Patrick Lee, Nathan Mabry, Pedro Reyes, Pedro Reyes, Amanda Ross-Ho, Raqib Shaw, and others.<br />Thief Among Thieves will be presented on the second floor of MCA Denver in the Natasha Congdon Gallery, Vicki &amp; Kent Logan Promenade Space, Joseph Crescenti Family Gallery, and the Mary Caulkins &amp; Karl Kister Gallery. This exhibition is co-organized by Nora Burnett Abrams and Adam Lerner.<br /><br />This exhibition is supported in part by the Director's Vision Society and Colorado Creative Industries. MCA Denver also thanks the Citizens of the Scientific and Cultural Facilities District.</p> Tue, 24 Mar 2015 16:47:09 +0000 Johanna Diehl - Galerie Wilma Tolksdorf Frankfurt - March 28th - May 30th <p>Works presented in the exhibition SETS are shifting along the interface between photography and film. Places depicted in the works are located in Sicily, Rome, Bolzano, Bergamo, Trent and were built under Mussolini. The exhibition introduces an extended readability of the published trilogy &lsquo;Borgo Romanit&agrave; Alleanza&rsquo; (Hatje Cantz, 2014) and expands the photographic image towards the dimension of the cinematic.<br /><br />Three different aspects maintain a focal point of the exhibition. The first refers to the pan shots and camera work in movies of the propaganda facility &lsquo;Instituto Luce&rsquo;, founded in 1924, as well as in the work of the director Michelangelo Antonioni in his films from the 1950&rsquo;s and 1960&rsquo;s. The second aspect deals with the stopping of the moving image and with the exposing of the view. The third approach concerns the impact of the historical narration on the public space which today is still used as a stage for the political and everyday life. <br /><br />The depictions in frescos, marble and stone generate a specific political dimension of those places. They can be read as &lsquo;backdrops&rsquo; - a technical term taken from area of the stage setting which means a painted curtain used as background of the stage. Placed in front of those settings things become scenery and persons transform into parts of the play (mise-en-sc&egrave;ne). Within the works of Johanna Diehl the expression &lsquo;mise-en-sc&egrave;ne&rsquo; refers to the original 'mettre quelqu'un, quelque chose sur la sc&egrave;ne', which means as much as &lsquo;to make someone or something become a subject of the theater or to assign a place to someone or something&rsquo;.<br /><br />In the movies of the Instituto Luce the Italian settlements planed and built under Mussolini formulate settings for the appearance of power. In doing so, they turn into frames of ideological iconography and become scenes of the spectacle. Within their filmic transition, they seem only to exist in order to create meaning and relevance. In the movies of Antonioni these places on the contrary become sites of meandering protagonists who do not know what to do. While in the propaganda movies the architecture obviously dictates how to move, think and behave, in Antinioni&rsquo;s films it turns to a medium which reflects the inner conflicts, isolation and void of the characters.<br /><br />Johanna Diehl&rsquo;s recent works presented in the exhibition encounter this twofold existence of the places by discussing the elements of the filmic within the medium of the photographic image. She restages these places for the third time while simultaneously dissolving them from the status of framing a plot or being a setting for agents, so that liberated observation from an &lsquo;aesthetic distance&rsquo; becomes possible in the first place. By releasing and intercepting cinematic images, Johanna Diehl points toward the irresolvable status.<br /><br /><br />Johanna Diehl (*1977 in Hamburg, Germany) lives and works in Berlin. She studied photography/visual arts at the Academy of Visual Arts in Leipzig under Prof. Timm Rautert, Boris Mikhailov, and as a master-class student under Prof. Tina Bara. She also studied at the ENSBA Paris under Christian Boltanski and Jean-Marc Bustamante. Her works have been shown at various national and international exhibitions. She has received numerous awards, most recently the working stipend of the Foundation Kunstfonds Bonn and the Akademie Schloss Solitude.<br /><br />For further information and press inquiries please contact<br />Galerie Wilma Tolksdorf: 0049 69 - 430 594 27 /</p> Tue, 24 Mar 2015 14:39:44 +0000