ArtSlant - Recently added http://www.artslant.com/ny/Events/show en-us 40 Matthew Brannon - Casey Kaplan Gallery - September 10th - October 24th <p>Casey Kaplan is pleased to present Matthew Brannon&rsquo;s Skirting the Issue, the artist&rsquo;s 2nd solo exhibition at the gallery. Following a recent three-year &ldquo;textploration,&rdquo; which included the composition of novels and text-based films and paintings, Brannon introduces an anomalous, primarily image-centered installation. Featuring twelve large-scale works on paper, (and what else?), this exhibition focuses on the pictorial and graphic systems that have been everpresent within the artist&rsquo;s practice. In pursuit of a visual language tendered in a similarly suggestive manner to that of the written word through themes informed by paradigms of 21st century cultural and social establishments, Brannon undertakes traditional methods of printmaking, including letterpress prints, silkscreens, and lush hand painting on paper.</p> <p>The underlying story of the exhibition ventures into American history as Brannon explores emotional registers within the context of the Vietnam/American War, and that of America&rsquo;s suggested transition from anti-colonial to anticommunist. In an attempt to better understand the period&rsquo;s ambitions and anxieties, Brannon storyboards and stages, not as a historian, academic or politician, but obliquely (in the sense of Derrida) as an artist. Palpable references to universal yet explicit notions are made; a suspended moment in time holds subliminal connotations that provoke larger queries into social ideals and our personal crises within these constraints.</p> <p>The imagery and objects rendered allude to the mass consumerism that rapidly developed during the lead in to this moment (the &lsquo;40s and &lsquo;50s) in a resounding response to pop cultural idioms provided by television, film, advertisements, and literature. In much of the work there is a playful duality: a diploma rests opposite imagery of stereo equipment; perfume is paired with a Western Union telegram; and comfort food is viewed in tandem with the U.S. capitol, exposing a grand delusion. One of Brannon&rsquo;s desires is to destabilize perception and allow for multiple interpretations within non-linear compositions of diverging pictorial and temporal elements. Skirting the Issue carries this through, releasing the experience by creating a forum where nothing is more suspicious than innocence.</p> <p>[ A R T I S T S T A T E M E N T ]</p> <p>Not too long ago I stood in a gallery looking at the work of one of my peers and had the thought &ndash; this is contemporary art. By that I mean that both the subject and the form of their work was very contemporary and very much about art. As a response, I had the liberating recognition that my own art, long known to have the form of the last century, also took as its subject the last century. Limitations are often productive.</p> <p>I&rsquo;ve been quoted as having once said my art addresses how we are own worst enemies. I no longer ask that question. I know the answer. * I&rsquo;d like now to concentrate on the broader, more complex question of how America is it&rsquo;s own worst enemy.</p> <p>I was born in 1971, 6 years into the Vietnam War, just after the &rsquo;68 Tet Offensive and before &lsquo;73 Paris Accords. Richard Nixon was President. I had entered a world battered from events that left the country&rsquo;s identity in jeopardy and Luce&rsquo;s concept of the &ldquo;American Century&rdquo; shattered. The context from which my generation was to respond was a response to those traumatic times. I didn&rsquo;t realize it at the time but the 80s seemed very much an act of forgetting. In psychoanalytic terms, a trauma not dealt with always finds a way to return.</p> <p>I&rsquo;ve long flirted with this Cold War context. But I&rsquo;d like now to pursue a more concentrated research into the decision-making and events seen from the perspective of a new century. To be clear my research is a personal one. I do this not as a historian, or academic or politician but as an artist might begin to address a history.</p> <p>When I was young, for a few years there was nothing more important than &ldquo;Star Wars.&rdquo; I saw it in the theatre with my family in 1977 in Alaska after multiple attempts standing in lines to see sold out shows. I can&rsquo;t explain the excitement that film had for everyone in my 6 year-old age group. Interesting that it comes out essentially a year after the Saigon airlift evacuation. A traumatic, sad, complicated, messy, unsatisfactory end of a war that no one &ldquo;won.&rdquo; But in &ldquo;Star Wars&rdquo; everything was reversed: we are the good guys. We fight the guerilla warfare, we are united with diverse nations. This isn&rsquo;t post-colonial fall out. The evil Empire has the nuclear bomb and they use it. We win in the end using ancient/spiritual tactics and then receive awards in a massive star-studded ceremony. Everyone I knew loved this film and we bought the toys spawned from it like crack. And now, again, with the U.S. deeply entangled in a highly debatable situation on foreign lands that can&rsquo;t be summed up or resolved simply - on the horizon the country braces for yet again, forty years later&hellip; &ldquo;Star Wars.&rdquo;</p> <p>- Matthew Brannon</p> <p><em>No, because what is commonly assumed to be past history is actually as much a part of the living present as William Faulkner insisted. Furtive, implacable and tricky, it inspirits both the observer and the scene observed, artifacts, manners and atmosphere and it speaks even when no one wills to listen. And so, as I listen, things once obscure began falling into place. Odd things, unexpected things&hellip; Perhaps it was also to remind me that war could, with art, be transformed into something deeper and more meaningful than it&rsquo;s surface violence&hellip; Ralph Ellison, 1981 </em></p> <p><span style="font-size: x-small;">* Short term solutions are easier and provide immediate stress relief, unfortunately they have long-term consequences.</span></p> Mon, 31 Aug 2015 19:24:24 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list Denis Darzacq and Anna Luneman - Laurence Miller Gallery - September 10th - October 31st <p>Laurence Miller Gallery is pleased to present <em>DOUBLEMIX, </em>an exciting collaboration between Denis Darzacq, widely recognized for his dynamic pictutres of young adults confronting personal and cultural boundaries, and Anna L&uuml;neman, recognized for her colorful abstractions on earthenware and canvas. Now these two artists have teamed up to create <em>DOUBEMIX</em>, unique works that integrate photography and ceramics with unpredictable and surreal results.</p> <p>Their collaboration balances the fugitive nature of instantaneous photography with the timeless quality of earthenware. A sprinting dog chases not a Frisbee, but a ceramic bowl hovering in the air - an ironic drama as the dog might bite off more than he can possibly chew. A beautiful and sensuous marble statue of a female nude seen from behind is befriended by two butterfly-like ceramic wings that gently caress the polished torso: a dialogue between stone and earth.</p> <p>In addition to the collaborative works, this exhibition will also include earlier individual works by each artist - photographs by Darzacq, and drawings, paintings, and stoneware by L&uuml;neman.</p> Mon, 31 Aug 2015 21:43:58 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list Peter DAVERINGTON - The Lodge Gallery - September 9th - October 11th <h1 class="title entry-title" style="text-align: center;">Peter Daverington</h1> <div class="post-meta" style="text-align: center;">&nbsp;</div> <p style="text-align: center;">&ldquo;<strong>Iconophilia</strong>&rdquo;<br />September 9, 2015 &ndash; October 11, 2015</p> <p style="text-align: center;"><strong>Opening Reception: Wednesday, September 9, 7 to 9pm</strong></p> <p><strong>&nbsp;</strong></p> <p class="p1" style="text-align: justify;">The Lodge Gallery is proud to present &ldquo;<em>Iconophilia,</em>&rdquo; an exhibition of new paintings by Peter Daverington on view September 9th through October 11th 2015.</p> <p class="p1" style="text-align: justify;">The hand of an artist can transport us back in time to discover where we came from, or it can take us on journeys forward through dreams to places we never thought possible. In his most recent body of work, Peter Daverington seizes the big picture and presents us with the relics of an evolving world.</p> <p class="p1" style="text-align: justify;">Harvested from the iconography of great masters,&nbsp;<em>Iconophilia</em>&nbsp;is an adventure through the historical cannons of western art. From the invention of oil paint right up into the graffiti tags and throw ups of old school New York street artists, Daverington plunders and appropriates from a vast archive of visual imagery. In the mix are the fading heroes of the late middle ages, such as Cimabue and Giotto, alongside repeated vignettes from the work of renowned American landscape painter Albert Bierstadt. Among the depictions of high and northern renaissance figuration and Hudson river landscapes, Daverington has woven his own iconography of checkerboards and floating geometries seamlessly into the balance. The result is a collection of riotous melodies that oscillate between artifact and artifice.</p> <p class="p1" style="text-align: justify;">As a public meditation on his own future, the future of painting, and the future of western civilization,<em>Iconophilia</em>&nbsp;is also an investigation into the cycles of degeneration and renewal. The strange decayed and distressed cacophony of imagery, abstraction, and erasure in these paintings reflects a world in collapse or one that has already collapsed, perhaps several times over, only to be restored and revitalized so that it may collapse again for future generations. Daverington&rsquo;s poetic reverence for bygone ages and his faith in the future of painting combine here to offer a glimpse of hope amidst the chaos.</p> <p class="p1" style="text-align: justify;">As the artist explains, &ldquo;My recent proclivity for subjecting the canvases to brutal forms of abuse and destruction with a power sander and graffiti&nbsp;is perhaps a subconscious response to the disintegration, ruin, and class warfare occurring within contemporary society. It&rsquo;s worth pointing out that while these works literally depict the iconography of art history as destroyed and defaced, each painting has at least one area that has been lovingly restored.&rdquo;</p> <p class="p1" style="text-align: justify;"><strong>Peter Daverington</strong>&nbsp;is a painter and musician from Melbourne, Australia currently living and working in Beacon, New York. He completed his MFA at the Victorian College of the Arts, University of Melbourne and has held fourteen solo exhibitions since 2004. Peter has been commissioned to paint public murals in Argentina, Australia, China, Egypt, Germany, Guatemala and Turkey. He is the winner of a John Coburn Emerging Artist Award, Rupert Bunny Foundation Visual Arts Fellowship, Australia Council for the Arts New Work Grants and a finalist in the Archibald and Sulman prizes. His work is held in numerous public and private collections. This is Daverington&rsquo;s first solo exhibition in Manhattan.</p> <p class="p1" style="text-align: justify;"><br /><strong>The Lodge Gallery</strong>, founded by Keith Schweitzer and Jason Patrick Voegele, is located at 131 Chrystie Street on Manhattan&rsquo;s Lower East Side. It is the exhibition venue of Republic Worldwide and serves as both an art space and a gathering place for hearty discourse and experimentation.</p> <p><strong>&nbsp;</strong></p> Sat, 29 Aug 2015 22:15:11 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list Liam Everett - On Stellar Rays - September 24th 7:00 PM - 8:30 PM <p>On Stellar Rays in pleased to announce the release of&nbsp;<em>INUTILE</em>, a limited edition artist's book by&nbsp;Liam&nbsp;Everett. On September 24, On Stellar Rays will celebrate with a book reelease party.<br /><br />The book features drawings by&nbsp;Everett that trace and layer the forms of outdated hand tools, found by the artist in a studio outside Toulouse, France. Rust marks mix and stain the brittle sheets of a 60 year-old watercolor block found amongst the tools, leaving indexical fragments of now-obsolete utility, pushed to the point of abstraction. Images are presented alongside texts by Bruno Tollon&mdash;describing the history and purpose of the tools&mdash;and prose by Rabih Alameddine.<br /><br />Co-published by On Stellar Rays, Altman-Siegel Gallery, San Francisco, and RITE Editions, San Fransisco. 2015.</p> <p>Artist&rsquo;s Book. Full color, clay pigment printed. Hard cover. Stitch bound. Limited edition of 45 and 5 APs. Signed, dated and and numbered.</p> Fri, 28 Aug 2015 19:28:01 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list Julia Bland - On Stellar Rays - September 9th - October 25th <p>On Stellar Rays is pleased to announce the opening of Julia Bland&rsquo;s first solo exhibition with the gallery and in New York, <em>If You Want To Be Free</em>.</p> <p>Bland&rsquo;s large-scale works incorporate painting and weaving, exploring the structures and patterns that combine disparate elements into a whole. Ropes, painted canvas, and fabrics woven by the artist are stitched together, forming boundaries that further bind the work &ndash; warp to weft, image to object. The surface is a visible record of Bland&rsquo;s evolving and multi-faceted process.</p> <p>Bland utilizes abstraction to negotiate the space between geometry, symbolism, and representation. Shapes emerge &ndash; an arrow, a shelter, a canyon, a figure &ndash; seemingly familiar, universal, and archaic.&nbsp; While the compositions incorporate structures that imply pure or timeless forms, color and materiality evoke an embodied visual experience. This contrast generates a transient exchange between subjectivity of personal memory and consciousness of the infinite or eternal.&nbsp;</p> <p>Julia Bland (b. in Palo Alto, 1986) received her MFA from Yale in 2012, and her BFA from the Rhode Island School of Design in 2008. In 2008, she received the Natasha and Jacques Gelman Travel Fellowship to study Islamic art and Sufism in Morocco.&nbsp; Recent group exhibitions include On Stellar Rays, New York; Vox Populi, Philadelphia; Asya Geisberg Gallery, New York; Anna Kustera Gallery, New York. She is currently a resident in the Sharpe-Walentas Studio Program.</p> Fri, 28 Aug 2015 19:00:30 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list Jackie Saccoccio - Eleven Rivington (Chrystie Street) - September 9th - October 18th <div>11R Eleven Rivington and Van Doren Waxter present 2-venue Jackie Saccoccio solo exhibition "Degree of Tilt". In "Degree of Tilt", Jackie Saccoccio asks us to consider her pieces as functional tools, and the exhibition as a continuum of the studio. For this show, Saccoccio has realized her improvisational &lsquo;portraits&rsquo; at an ambitious scale, up to 152 inches in width. By manipulating the alchemical qualities of liquid pools, vis-a-vis tipping, dragging and shaking the large-scale works over one another she fuses physical and intangible to form centripetal works.</div> <div>&nbsp;</div> <div>Metaphorically, Saccoccio&rsquo;s pieces serve as conceptual containers of overlapping influences that are embedded in the layers. The ill-fated couples Narcissus and Echo, and Cop 663 and Faye from Wong Kar-Wai&rsquo;s film Chungking Express converge with the palettes of Marilyn Minter, Mondrian and Lisa Yuskavage. Referring to the ancient Roman drainage system, Saccoccio conceives the totality of her paintings as a Cloaca Maxima: a repository where paint and ideas flow and pool.</div> <div>&nbsp;</div> <div>Saccoccio&rsquo;s comparison with the Cloaca Maxima resonates as an act of visual and intellectual excavation, mining through the artist&rsquo;s painted layers, through the last half-century of art making, and through the questions that animate the paintings in Degree of Tilt.</div> <div>&nbsp;</div> <div>Opening receptions:&nbsp;</div> <div>September 9, 6pm-8pm, in both locations</div> <div>&nbsp;</div> <div>Dates:</div> <div>September 9 - October 18 (Eleven Rivington)</div> <div>September 9 - October 23 (Van Doren Waxter)</div> Thu, 27 Aug 2015 20:02:34 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list Jackie Saccoccio - Van Doren Waxter Gallery - September 9th - October 23rd <div>11R Eleven Rivington and Van Doren Waxter present 2-venue Jackie Saccoccio solo exhibition "Degree of Tilt". In "Degree of Tilt", Jackie Saccoccio asks us to consider her pieces as functional tools, and the exhibition as a continuum of the studio. For this show, Saccoccio has realized her improvisational &lsquo;portraits&rsquo; at an ambitious scale, up to 152 inches in width. By manipulating the alchemical qualities of liquid pools, vis-a-vis tipping, dragging and shaking the large-scale works over one another she fuses physical and intangible to form centripetal works.</div> <div>&nbsp;</div> <div>Metaphorically, Saccoccio&rsquo;s pieces serve as conceptual containers of overlapping influences that are embedded in the layers. The ill-fated couples Narcissus and Echo, and Cop 663 and Faye from Wong Kar-Wai&rsquo;s film Chungking Express converge with the palettes of Marilyn Minter, Mondrian and Lisa Yuskavage. Referring to the ancient Roman drainage system, Saccoccio conceives the totality of her paintings as a Cloaca Maxima: a repository where paint and ideas flow and pool.</div> <div>&nbsp;</div> <div>Saccoccio&rsquo;s comparison with the Cloaca Maxima resonates as an act of visual and intellectual excavation, mining through the artist&rsquo;s painted layers, through the last half-century of art making, and through the questions that animate the paintings in Degree of Tilt.</div> <div>&nbsp;</div> <div>Opening receptions:&nbsp;</div> <div>September 9, 6pm-8pm, in both locations</div> <div>&nbsp;</div> <div>Dates:</div> <div>September 9 - October 18 (Eleven Rivington)</div> <div>September 9 - October 23 (Van Doren Waxter)</div> Thu, 27 Aug 2015 20:00:47 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list Jackie Saccoccio - Van Doren Waxter Gallery - September 9th - October 23rd <p>11R Eleven Rivington and Van Doren Waxter to present 2-venue solo exhibition.</p> <p>&nbsp;</p> <p>In&nbsp;<em>Degree of Tilt, Jackie&nbsp;</em>Saccoccio asks us to consider her pieces as functional tools, and the exhibition as a continuum of the studio. For this show, Saccoccio has realized her improvisational &lsquo;portraits&rsquo; at an ambitious scale, up to 152 inches in width. By manipulating the alchemical qualities of liquid pools,&nbsp;vis-a-vis tipping, dragging and shaking the large-scale works over one another she fuses physical and intangible to form centripetal works.</p> <p>Metaphorically, Saccoccio&rsquo;s pieces serve as conceptual containers of overlapping influences that are embedded in the layers. The ill-fated couples Narcissus and Echo, and Cop 663 and Faye from Wong Kar-Wai&rsquo;s film&nbsp;<em>Chungking Express</em>&nbsp;converge with the palettes of Marilyn Minter, Mondrian and Lisa Yuskavage. Referring to the ancient Roman drainage system, Saccoccio conceives the totality of her paintings as a Cloaca Maxima: a repository where paint and ideas flow and pool.</p> <p>&nbsp;</p> <p>Saccoccio&rsquo;s comparison with the Cloaca Maxima resonates as an act of visual and intellectual excavation, mining through the artist&rsquo;s painted layers, through the last half-century of art making, and through the questions that animate the paintings in&nbsp;<em>Degree of Tilt.</em></p> Thu, 27 Aug 2015 19:06:35 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list Jackie Saccoccio - Van Doren Waxter Gallery - September 9th - October 18th <p>11R Eleven Rivington and Van Doren Waxter to present 2-venue solo exhibition&nbsp;<em>Degree of Tilt</em>.</p> <p>In&nbsp;<em>Degree of Tilt, Jackie&nbsp;</em>Saccoccio asks us to consider her pieces as functional tools, and the exhibition as a continuum of the studio. For this show, Saccoccio has realized her improvisational &lsquo;portraits&rsquo; at an ambitious scale, up to 152 inches in width. By manipulating the alchemical qualities of liquid pools,&nbsp;vis-a-vis tipping, dragging and shaking the large-scale works over one another she fuses physical and intangible to form centripetal works. Metaphorically, Saccoccio&rsquo;s pieces serve as conceptual containers of overlapping influences that are embedded in the layers. The ill-fated couples Narcissus and Echo, and Cop 663 and Faye from Wong Kar-Wai&rsquo;s film&nbsp;<em>Chungking Express</em>&nbsp;converge with the palettes of Marilyn Minter, Mondrian and Lisa Yuskavage. Referring to the ancient Roman drainage system, Saccoccio conceives the totality of her paintings as a Cloaca Maxima: a repository where paint and ideas flow and pool. Saccoccio&rsquo;s comparison with the Cloaca Maxima resonates as an act of visual and intellectual excavation, mining through the artist&rsquo;s painted layers, through the last half-century of art making, and through the questions that animate the paintings in&nbsp;<em>Degree of Tilt.</em></p> <p>September 9 &ndash; October 18 | 11R Eleven Rivington</p> <p>195 Chrystie Street, NY, NY 10002, Tel: 212 982 1930</p> <p>&nbsp;</p> <p>September 9 &ndash; October 23 | Van Doren Waxter</p> <p>23 East 73<sup>rd</sup>&nbsp;Street, NY, NY 10021, Tel: 212 445 0444</p> Thu, 27 Aug 2015 18:55:40 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list Jacki Saccoccio - Eleven Rivington (Chrystie Street) - September 9th - October 18th <p>11R Eleven Rivington and Van Doren Waxter to present 2-venue solo exhibition&nbsp;<em>Degree of Tilt</em>.</p> <p>In&nbsp;<em>Degree of Tilt, Jackie&nbsp;</em>Saccoccio asks us to consider her pieces as functional tools, and the exhibition as a continuum of the studio. For this show, Saccoccio has realized her improvisational &lsquo;portraits&rsquo; at an ambitious scale, up to 152 inches in width. By manipulating the alchemical qualities of liquid pools,&nbsp;vis-a-vis tipping, dragging and shaking the large-scale works over one another she fuses physical and intangible to form centripetal works. Metaphorically, Saccoccio&rsquo;s pieces serve as conceptual containers of overlapping influences that are embedded in the layers. The ill-fated couples Narcissus and Echo, and Cop 663 and Faye from Wong Kar-Wai&rsquo;s film&nbsp;<em>Chungking Express</em>&nbsp;converge with the palettes of Marilyn Minter, Mondrian and Lisa Yuskavage. Referring to the ancient Roman drainage system, Saccoccio conceives the totality of her paintings as a Cloaca Maxima: a repository where paint and ideas flow and pool. Saccoccio&rsquo;s comparison with the Cloaca Maxima resonates as an act of visual and intellectual excavation, mining through the artist&rsquo;s painted layers, through the last half-century of art making, and through the questions that animate the paintings in&nbsp;<em>Degree of Tilt.</em></p> <p>September 9 &ndash; October 18 | 11R Eleven Rivington</p> <p>195 Chrystie Street, NY, NY 10002, Tel: 212 982 1930</p> <p>&nbsp;</p> <p>September 9 &ndash; October 23 | Van Doren Waxter</p> <p>23 East 73<sup>rd</sup>&nbsp;Street, NY, NY 10021, Tel: 212 445 0444</p> Thu, 27 Aug 2015 18:53:37 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list Alejandra Prieto - Y Gallery - September 16th - October 18th Thu, 27 Aug 2015 15:51:51 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list CHARLES SABBA - Y Gallery - September 7th - September 13th Thu, 27 Aug 2015 15:51:20 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list Group Show - Swiss Institute - September 24th - November 8th <p style="text-align: justify;">Swiss Institute is delighted to present the 2<sup>nd</sup> Edition of its Annual Architecture and Design Series entitled <em>PAVILLON DE L&rsquo;ESPRIT NOUVEAU: A 21st Century Show Home</em>. Curated by Felix Burrichter, the editor and creative director of award-winning architecture and design magazine PIN&ndash;UP,&nbsp;the exhibition channels the visionary irreverence of Le Corbusier for a 21<sup>st</sup> century take on domesticity.</p> <p style="text-align: justify;">When Swiss-born architect Le Corbusier participated in the 1925 Paris Exposition des Arts D&eacute;coratifs, his contribution &ndash; the original <em>Pavillon de l&rsquo;Esprit Nouveau</em> &ndash; caused an uproar among the fair&rsquo;s organizers. In a commercial trade show intended to facilitate the promotion of the Art D&eacute;co style, his aesthetic was dismissed as antithetical. In retrospect, however, Le Corbusier&rsquo;s <em>Pavillon de L&rsquo;Esprit Nouveau </em>acted as a manifesto that introduced revolutionary design concepts, such as building standardization, mass-production as it applies to furnishings and interiors, and the mechanization of the home. These ideas would resonate for decades to come, largely influencing post-war housing schemes and d&eacute;cor throughout the rest of the 20<sup>th</sup> century.</p> <p style="text-align: justify;">In homage to the original <em>Pavillon de l&rsquo;Esprit Nouveau</em>, Burrichter&rsquo;s exhibition acts as a conceptual show home for the 21<sup>st</sup> century. Ninety years after the original debuted in Paris, this contemporary <em>PAVILLON DE L&rsquo;ESPRIT NOUVEAU</em> explores new modes of domesticity, as well as innovation in furniture design, where craft co-exists with computational expertise. The exhibition features over 30 international designers and artists, most of whom are participating with specially commissioned works. All featured pieces bear key elements in either fabrication or material that highlight industrial&nbsp;progress&nbsp;made in the last 15 years such as laser-cutting,&nbsp;3D-printing, advanced LED-technology, non-woven textiles, and ultra-light carbon-fiber.</p> <p style="text-align: justify;">In addition to serving as a platform for new design, <em>PAVILLON DE L&rsquo;ESPRIT NOUVEAU</em> is also an interactive, architectural experience. Divided into softly delineated zones, each increasing in levels of privacy, the exhibition design by architect and artist Shawn Maximo makes use of digital rendering technology and Chroma key compositing. The 21<sup>st</sup> century show home incorporates scenarios of different domestic environments, exploring the blurred lines in a culture of digital escapism and surveillance.</p> <p style="text-align: justify;">In the characteristically confident words of Le Corbusier, the <em>Pavillon&rsquo;s</em> 2015 iteration at Swiss Institute aims to capture &ldquo;a turning point in the design of modern interiors and a milestone in the evolution of architecture.&rdquo;</p> <p style="text-align: justify;">The exhibition will include works by:<br /> Lindsey Adelman, Nanu Al-Hamad, Aranda\Lasch, Alessandro Bava, Josh Bitelli, Camille Blin, Laureline Galliot, Konstantin Grcic, Paul Kopkau, Kram/Weisshaar, Joris Laarman, Max Lamb, Le Corbusier, Piero Lissoni, Philippe Malouin, Shawn Maximo, Jasper Morrison, Jonathan Muecke, Marlie Mul, Ifeanyi Oganwu, Leon Ransmeier, Sean Raspet, Jessi Reaves, Guto Requena, RO/LU, Rossi Bianchi, Julika Rudelius, Soft Baroque, Robert Stadler, Ian Stell, Katie Stout, Elisa Strozyk, Studio Drift, Patricia Urquiola, Christian Wassmann, Bethan Laura Wood.</p> <p style="text-align: justify;"><strong>About the curator<br /> </strong>Felix Burrichter is a German-born, New York-based writer and creative director. He studied architecture at the Ecole Sp&eacute;ciale d&rsquo;Architecture (Paris) and Columbia&nbsp;University (New York) before founding PIN&ndash;UP magazine in 2006 of which he is editor and creative director. PIN&ndash;UP is a biannual architecture and design magazine (&ldquo;Magazine for Architectural Entertainment&rdquo;) that regularly features interviews with renowned architects (SANAA, Richard Meier, Shigeru Ban, Zaha Hadid, Peter Marino, Ricardo Bofill, Odile Decq, David Adjaye, Santiago Calatrava, Rem Koolhaas) as well as critical essays and contemporary architecture and design photography. Heralded as a &ldquo;cult design zine&rdquo; by the&nbsp;<em>New York Times</em>&nbsp;and for &ldquo;framing the built environment in decidedly&nbsp;sexy terms&rdquo; (<em>Architectural Digest</em>), in 2011 PIN&ndash;UP was awarded the Gold Medal for Editorial Design by the Art Director&rsquo;s Club America. In addition to consulting on art and design books, Burrichter is a regular contributor to&nbsp;<em>T The New York Times Style Magazine</em>,&nbsp;<em>W Magazine</em>, and&nbsp;<em>Fantastic Man</em>.</p> <p style="text-align: justify;">Swiss Institute thanks the lenders to the exhibition: Aznom, Monza; Carpenter&rsquo;s Workshop Gallery, London and Paris; Cassina, Milan; Croy Nielsen, Berlin; Designtex, New York; Dzek Limited, London; Emeco, Hanover; Established &amp; Sons, London; Expand Design LTD, London; Febrik, Tilburg; Flos, New York; Galerie Armel Soyer, Paris; Living Divani, Como; Nilufar Gallery, Milan; Vitra, Birsfelden; Volume Gallery, Chicago.</p> <p style="text-align: justify;">SWISS&nbsp;INSTITUTE&nbsp;PROGRAMMING&nbsp;IS MADE POSSIBLE IN PART WITH PUBLIC FUNDS FROM PRO HELVETIA,&nbsp;SWISS&nbsp;ARTS COUNCIL, THE NEW YORK STATE COUNCIL ON THE ARTS, WITH THE SUPPORT OF GOVERNOR ANDREW CUOMO AND THE NEW YORK STATE LEGISLATURE. MAIN SPONSORS INCLUDE LUMA FOUNDATION AND FRIENDS OF SWISS INSTITUTE&nbsp;(FOSI), LEADING PARTNERS INCLUDE UBS AND VICTORINOX.&nbsp;SWISS&nbsp;INSTITUTE&nbsp;GRATEFULLY ACKNOWLEDGES SWISS AS TRAVEL PARTNER,&nbsp;AND CHELSEA HOTELS AS HOSPITALITY PARTNER.</p> <p style="text-align: justify;">THE 2015 ARCHITECTURE AND DESIGN EXHIBITION IS SUPPORTED BY THE GRAHAM FOUNDATION FOR ADVANCED STUDIES IN THE FINE ARTS, AUSTRIAN CULTURAL COUNCIL NEW YORK, KARA MANN AND CULTURAL PARTNER FONDATION LE CORBUSIER, PARIS. IN-KIND SUPPORT PROVIDED BY: AZNOM; CARPENTER&rsquo;S WORKSHOP; CASSINA; DESIGNTEX; FLOS; GCX; MAHARAM; McGRORY GLASS; PANTONE; RESOLUME; ROSCO LABORATORIES; SOYLENT; USM; VITRA, USA.</p> Thu, 27 Aug 2015 15:47:46 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list Dora Budor - Swiss Institute - June 24th - September 6th <p style="text-align: justify;">Swiss Institute is pleased to present <em>Spring</em>, the first institutional solo exhibition of New York-based Croatian artist Dora Budor (b. 1984). Through her work, Budor considers the representation of emotional and physical experience within the ideological subtexts of mainstream cinema. She focuses in particular on Hollywood production methods and special effects, where ideas transfer between states of materialization, fictionalization and digitalization. Using cinematic strategies of affect, Budor composes sculptures and architectural interventions that organically incorporate screen-used cinema props. She calls this process &ldquo;reanimation,&rdquo; acknowledging the objects&rsquo; fictional histories while re-contextualizing them in a second life.</p> <p style="text-align: justify;">Conceived as a hybrid of heating infrastructure and blood vessels, Budor&rsquo;s sculptures at Swiss Institute wrap around architectural miniatures originally featured in the blockbuster films <em>The Fifth Element</em>, <em>Batman Returns</em>, and <em>Johnny Mnemonic</em>. These structures, covered with artificial weathering, dust, and dirt, become real-life fossils of on-screen experiences. In acts of architectural concrescence, mutation, and circulation, the works hover on the edge of living as autonomous objects with death drives.</p> <p style="text-align: justify;">Of the surrounding blackness, Budor states: &ldquo;Spurred by climate change, bacteria have reappeared on some of the world&rsquo;s oldest mummies, rapidly decomposing their ancient skin into black slime. Once understood as stable, rigid and dead, biological and ecological forces have suddenly revived these deeply historical bodies in a Frankensteinian way &ndash; a symbolic indication of the current moment.&rdquo;</p> <p style="text-align: justify;">Dora Budor: <em>Spring</em> is the second exhibition in the <em>ONE FOR ALL</em> series at SI. Building on Swiss Institute&rsquo;s long history of providing a platform for emerging artists, each show will be the artist&rsquo;s first institutional solo exhibition in the United States with a newly commissioned body of work specifically created for the exhibition space. Swiss Institute is grateful for support from the VIA Art Fund, Presenting Sponsor of the <em>ONE FOR ALL</em> series.</p> <p style="text-align: justify;">Dora Budor (b. 1984 in Croatia) lives and works in New York. Recent exhibitions include <em>Inhuman</em> at Fridericianum, Kassel, Germany (2015); <em>DIDING &ndash; An Interior That Remains an Exterior?</em> at K&uuml;nstlerhaus KM&ndash;, Halle f&uuml;r Kunst &amp; Medien, Graz, Austria (2015); <em>The Architect&rsquo;s Plan, His Contagion and Sensitive Corridors</em> at New Galerie, Paris (2015); <em>Believe You Me</em> at 247365, New York (2015); and <em>Flat Neighbors</em> at Rachel Uffner, New York (2014). Budor recently participated in panel discussions at the Judd Foundation and the Whitney Museum of American Art, both in New York. She is a winner of the Rema Hort Emerging Art Award (2014) and is co-director of the project space Grand Century in New York.</p> <p style="text-align: justify;">SWISS INSTITUTE IS GRATEFUL TO VIA ART FUND FOR ITS SUPPORT OF THE ONE FOR ALL SERIES, TO THE DORA BUDOR EXHIBITION CIRCLE, AND TO NEW GALERIE IN COLLABORATION WITH NOIRMONTARTPRODUCTION FOR PRODUCTION SUPPORT OF THIS EXHIBITION.<br /> SWISS INSTITUTE PROGRAMMING IS MADE POSSIBLE IN PART WITH PUBLIC FUNDS FROM PRO HELVETIA, SWISS ARTS COUNCIL, THE NEW YORK CITY DEPARTMENT OF CULTURAL AFFAIRS IN PARTNERSHIP WITH THE CITY COUNCIL AND THE NEW YORK STATE COUNCIL ON THE ARTS, WITH THE SUPPORT OF GOVERNOR ANDREW CUOMO AND THE NEW YORK STATE LEGISLATURE. MAIN SPONSORS INCLUDE LUMA FOUNDATION, FRIENDS OF SWISS INSTITUTE (FOSI), UBS AND VICTORINOX. SWISS INSTITUTE GRATEFULLY ACKNOWLEDGES SWISS AS TRAVEL PARTNER, AND CHELSEA HOTELS AS HOSPITALITY PARTNER.</p> Thu, 27 Aug 2015 15:45:00 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list Group Show - Neue Galerie Museum for German and Austrian Art - October 1st - January 4th, 2016 <p style="text-align: justify;">On October 1, 2015, Neue Galerie New York will open "Berlin Metropolis: 1918-1933," an exhibition devoted to Berlin during the Weimar period. The show explores the city using a multi-media approach, revealing this complex period through painting, drawing, sculpture, collage, photography, architecture, film, and fashion. The Neue Galerie is the sole venue for this show, where it will be on view through January 4, 2016.</p> <p style="text-align: justify;"><br /> The exhibition is organized by Dr. Olaf Peters, Professor of Art History at the Martin-Luther Universit&auml;t Halle-Wittenberg, distinguished scholar, and historian. Dr. Peters recently curated the 2013 show at Neue Galerie, "Degenerate Art: The Attack on Modern&nbsp;Art in Nazi Germany, 1933," as well as the 2010 exhibition "Otto Dix." Pandiscio Co. is the designer for the "Berlin Metropolis" exhibition and catalogue.</p> <p style="text-align: justify;">Approximately 300 works will be on display, organized into five thematic groupings: The Birth of the Republic; A New Utopia; The "Neue Frau," or New Woman; The Crisis of Modernity; and Into the Abyss. Highlights of the show include a number of major works created in Berlin during this time, such as Herbert Bayer, <em>The Lonely Metropolitan</em> (1932), Max Beckmann, <em>Film Studio</em> (1933); George Grosz, <em>Metropolis</em> (1917); Raoul Hausmann, <em>Dada Triumphs</em> <em>(The Exacting Brain of a Bourgeois Calls Forth a World Movement)</em> (1920); Ludwig Meidner, <em>I and the City</em> (1913); Lily Reich, <em>Collage</em> (1930); Rudolf Schlichter, <em>Blind Power</em> (1937), Georg Scholz, <em>Of Things to Come </em>(1922), as well as major works by John Heartfield and Hannah H&ouml;ch.</p> <p style="text-align: justify;">This show will cover the city from various perspectives in order to demonstrate the dramatic changes that occurred at this time. Berlin saw explosive growth and transformation, as many were attracted to the burgeoning metropolis. Between 1871 and 1919, the population of the city quadrupled, and Berlin became the political center of Germany, as well as the turbulent crossroads of the modern age. This was reflected in the work of artists, critics, directors, and writers of the time.</p> <p style="text-align: justify;">As an imperial capital, Berlin was the site of violent political revolution and radical aesthetic innovation. After the German defeat in World War I, collage and montage were conceived as appropriate forms to destroy the traditional bourgeois concept of art. The Berlin Dadaists were reflecting upon the horrors of war&mdash;the trauma of a mechanized conflict&mdash;and the terrors of revolution and civil war. This new spirit was reflected in the artistic, political, and social statements of artists during the birth and formation of the fragile Weimar democracy.</p> <p style="text-align: justify;">Between 1924 and 1929, Berlin became the most "American" city in Europe, and jazz, advertisements, and cinema played a central role in its development. The urban experience was expressed through works of art and through mass culture&mdash;advertisements, magazines, photographs, and posters all boldly proclaimed the spirit of modernity. The concept of the "Neue Frau"&mdash;the modern, emancipated woman&mdash;helped move the city in a new direction. The exhibition at the Neue Galerie includes evidence of all these shifts, including fashion of the time.</p> <p style="text-align: justify;">Finally, Berlin became a hostile stage for political confrontation between the left and the right and was deeply affected by the economic crisis and mass unemployment at the end of the 1920s. The experiences of social and economic crisis and despair began to overshadow the "golden years" of Berlin.</p> <p style="text-align: justify;">The exhibition catalogue, published by Prestel Verlag, provides a complete historical overview of the period. It examines subjects ranging from art and architecture to film, music, fashion, and the "New Woman." Dr. Peters serves as the catalogue editor, which features contributions from such scholars as Leonhard Helten, Sharon Jordan, J&uuml;rgen M&uuml;ller, Janina Nentwig, Dorothy Price, and Adelheid Rasche. "Berlin Metropolis: 1918-1933" is made possible in part by</p> <p>&nbsp;<img src="http://www.neuegalerie.org/sites/default/files/users/als.jpg" alt="" width="200" height="39" /></p> <p>&nbsp;</p> Thu, 27 Aug 2015 11:59:28 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list Omar Chacon - Margaret Thatcher Projects - October 22nd - December 23rd Thu, 27 Aug 2015 11:52:52 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list