ArtSlant - Current exhibits en-us 40 Jeppe Hein - 303 Gallery - April 16th - May 30th <p style="text-align: justify;">303 Gallery is pleased to present "All We Need Is Inside," our third exhibition of new work from Jeppe Hein.<br />&nbsp;<br />On this occasion, Hein presents a collection of works in disparate media, encouraging viewers to enter into their own inner dialogues. Focusing his attention on the awareness of one's own body and mind, Hein creates an experiential narrative in which the viewer becomes gracefully cognizant of his own being through the traversal of the exhibition space and its signifying works.<br />&nbsp;<br />Upon entering the space, a glowing neon mirror announces&nbsp;<em>ALL WE NEED IS INSIDE</em>, imposing a prism through which the viewer processes the surrounding space. Turning away from this work is an encounter with a series of&nbsp;<em>Breathing Watercolors</em>, in which Hein's own breath guides the application of blue stripes painted directly onto the white wall.&nbsp; The intensity of color, deep and vigorous at the beginning of each stroke, gradually fades into a pale shade toward the bottom of each stripe, physically recording the process of air gradually escaping from the body. Echoing this work is&nbsp;<em>Breath</em>, in which Hein's own breath is encased in glass spheres lying on the floor.<br />&nbsp;<br />In the center of the gallery,&nbsp;<em>Sine Curve I</em>&nbsp;implicates the viewer's perception in the creation of the work. Its multifaceted reflection produces an alien experience of the gallery space, disorienting the subject of its reflection and forcing a new type of environmental consciousness. Its sculptural shape is reminiscent of the sinus rhythm, a diagrammatic recording of the normal beating of a heart. In another mirror work,&nbsp;<em>Invisible Eye,</em>&nbsp;Hein has placed a flickering candle behind a two-way mirror. This elemental object of ritual is subverted by Hein's intervention, as candle and viewer merge into one another, resulting in the placement of a flaming third eye onto the viewer's forehead. This suggestion of enlightenment, both physical and spiritual, looks toward an enigmatic and foreign sense of being, implicating the viewer not only in an encounter with an artwork, but in a confrontation with an obscure and unknown self.<br />&nbsp;<br />In November of this year, he will open a solo show at Kunstmuseum, Wolfsburg, Germany. Recent exhibitions include &ldquo;A Smile For You&rdquo; (2013) at Bonniers Konsthall, Stockholm and Wan&aring;s Konst, Sweden; &ldquo;Robert-Jacobsen-Preistr&auml;ger&rdquo; (2012) Museum W&uuml;rth, Bad Mergentheim, Germany; &ldquo;360?&rdquo; (2011) at the 21st Century Museum of Contemporary Art, Kanazawa, Japan; &ldquo;1xMuseum, 10xRooms, 11xWorks&rdquo; (2010) at Neues Museum N&uuml;rnberg; Distance (2010) at IMA - Indianapolis Museum of Art, Indianapolis; &ldquo;Sense City&rdquo; (2009) at AroS Museum of Art, &Aring;rhus, Denmark. Permanent installations of his works were realized in 2014 at Musikkens Hus, Aalborg, Denmark and the New Media Library H&ouml;gskolan Dalarna, Falun, Sweden. His works are held in institutional collections such as the Tate Gallery, London; Centre Pompidou, Paris; Museum f&uuml;r Moderne Kunst, Frankfurt/Main; Museum of Contemporary Art, Los Angeles. Hein lives and works in Berlin.</p> <p>&nbsp;</p> Sat, 04 Apr 2015 09:58:19 +0000 Jef Geys - 3A Gallery - March 26th - July 24th <div style="text-align: justify;">3A Gallery is pleased to announce <em>Jef Geys: Some Paintings from Belgium</em>. On view are ten Martin Douven paintings from the collection of Felipe Perez.&nbsp; The exhibit includes ten prints, on loan from the Columbia University Rare Book and Manuscript Library, depicting the various international contexts of this set of paintings&rsquo; exhibition history.&nbsp; Jef Geys has produced a <em>Kempens Informatieboek</em> for the occasion.</div> <p style="text-align: justify;">&nbsp;<br /> &nbsp;</p> <div style="text-align: justify;"><em>Jef Geys: Some Paintings from Belgium</em> was made possible by the generosity of the Related Group.</div> Sat, 07 Mar 2015 15:36:37 +0000 Julie Langsam - 532 Gallery Thomas Jaeckel - April 30th - May 30th Fri, 17 Apr 2015 10:26:37 +0000 Group Show - Acquavella Galleries - April 15th - June 12th Fri, 23 Jan 2015 14:42:17 +0000 Jacob El Hanani - Acquavella Galleries - April 15th - June 12th Fri, 23 Jan 2015 14:42:30 +0000 Stefan Kurten - Alexander and Bonin - April 18th - May 30th <p style="text-align: justify;">An exhibition of new paintings and works on paper by Stefan K&uuml;rten will open at Alexander and Bonin on April 18th. The exhibition features <em>Running to stand still </em>(2014), a large scale painting depicting a grid of houses which emerge from a golden, abstracted thicket and represent K&uuml;rten&rsquo;s typography of 20th Century homes.</p> <p style="text-align: justify;">Modernist overhang slab roof houses, brick villas in idyllic surroundings and suburban bungalows with neat garden paths and flower beds are the subject of K&uuml;rten&rsquo;s recent paintings. Almost all depict isolated buildings that are surrounded by a wall, hedge or lush vegetation and draw the viewer's attention to a singular piece of invented architecture. These structures often closely resemble iconic mid-century modern dwellings, but have been rebuilt by K&uuml;rten&rsquo;s conflation of imagery. Their sense of familiarity is strong and viewers often feel they have visited these non-existent homes. The surfaces of K&uuml;rten&rsquo;s paintings are composed of innumerable brushstrokes forming patterns that evoke sky, water and foliage. The density of the patterning can elicit a sense of horror, destabilizing these beautiful illusions.</p> <p style="text-align: justify;">&ldquo;Even though the houses and gardens that distinguish my paintings are drawn from real houses and gardens, taken from my own photos, books, and magazines, they are somehow transformed into the stuff of daydreams or nightmares. They are devoid of human presence; the apparent idyll feels isolated to the point of oppression. Nonetheless, there seems to be some sort of a presence, like a hidden secret, something untold and left to our imaginations. Heimlich describes this unsettling, disturbing uncertainty very fittingly.&rdquo;<span style="font-size: xx-small;">1</span></p> <p style="text-align: justify;"><span style="font-size: xx-small;">1</span> Interview with Larry Rinder published in <em>Here Comes the Night. Works on Paper 2009 &ndash; 2013</em>,Ostfildern: Hatje Cantz</p> <p style="text-align: justify;">The artist lives and works in D&uuml;sseldorf. His work has been the subject of several institutional exhibitions and two recent monographs: <em>Here Comes the Night. Works on Paper 2009 &ndash; 2013</em>, published by Hatje Cantz and <em>Running to stand still</em>, a monograph of recent paintings published by Galerie der Stadt Backnang. Stefan K&uuml;rten&rsquo;s paintings are in the permanent collections of several European and American institutions including Kunstmuseen Krefeld, The Montreal Museum of Fine Arts, The Museum of Modern Art, New York and the San Francisco Museum of Modern Art.</p> <p style="text-align: justify;">For press inquiries contact Olivia Gauthier at 212/367-7474 or</p> Sat, 04 Apr 2015 10:05:59 +0000 Joan Semme - Alexander Gray Associates - April 2nd - May 16th Thu, 05 Feb 2015 12:04:05 +0000 Group Show - American Folk Art Museum - March 26th - July 5th <p style="text-align: justify;">Most self-taught artists can be perceived as performance artists. Their work is infused with daily rituals, public actions, gestures, and enactments, defining a lifelong artistic practice for which <em>the curtain never comes down</em>. Beyond paintings and sculpture, the exhibition includes ceremonial clothes, kinetic apparatuses, ephemeral installations, writings, fragments of ever-changing constructions, music, recordings, and other statements that have been captured by photographers and filmmakers. The inventive devices and countless strategies these artists configure are expressions of an alter ego, which they assume for its power to transform the world and, above all, to transform their own connections to reality.</p> <p style="text-align: justify;">Historically, collectors and museums have prioritized artworks that are readily collectible and more conventional in their materials and techniques&mdash;an attitude that elucidates a direct relationship between conservation and recognition. The exhibition,&nbsp;which&nbsp;gathers 27 artists from around the world, delves into an underside of self-taught art and art brut, opening a door to the study of its neglected facets.<br /> <em>&mdash;Val&eacute;rie Rousseau, PhD, curator, self-taught art and art brut</em></p> <p style="text-align: justify;"><em>&nbsp;</em></p> <p style="text-align: justify;"><em><br /></em>Major support for the exhibition is provided by the National Endowment for the Arts: Art Works. Additional support is provided by The Coby Foundation, Ltd., Joyce Berger Cowin, the David Davies and Jack Weeden Fund for Exhibitions, the Gerard C. Wertkin Exhibition Fund, the Leir Charitable Foundations, public funds from 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.</p> Wed, 25 Feb 2015 15:10:49 +0000 Robert Motherwell - Andrea Rosen Gallery - May 1st - June 20th <div style="text-align: justify;"><em>&ldquo;We have only to look at the force of one of the&nbsp;</em>Opens<em>&hellip;to feel the complexity of observation the painter requires of himself and the viewer.&rdquo; *</em></div> <div style="text-align: justify;">&nbsp;</div> <div style="text-align: justify;"><em>&ldquo;&hellip;a subtle but firmly asserted spatial ambiguity that gives the picture a deep resonance and an aura of mystery.&rdquo;**</em></div> <div style="text-align: justify;">&nbsp;</div> <div style="text-align: justify;">Andrea Rosen Gallery is delighted to announce a comprehensive exhibition of Robert Motherwell&rsquo;s seminal&nbsp;<em>Open</em>&nbsp;series. The gallery has an ongoing commitment to timely presentations of historical material, in this case highlighting a point in the artist&rsquo;s trajectory when a confluence of institutional, intellectual, and market attention brings renewed appreciation to a significant body of work. The gallery is particularly interested in creating historical exhibitions that expand the reading and understanding of an artist&rsquo;s work. While Motherwell&rsquo;s significance may have been perceived primarily through the gestural&nbsp;<em>Elegies,</em>presenting the&nbsp;<em>Opens</em>&nbsp;now not only allows us to compare these masterworks against the present-day focus on abstraction, but also encourages us to reconcile the breadth of Motherwell&rsquo;s rigor and clarity. They are undeniably fresh, beautiful, and bold.</div> <div style="text-align: justify;">&nbsp;</div> <div style="text-align: justify;">Typically composed as single-color surfaces on which he has painted three charcoal lines, the&nbsp;<em>Opens</em>&nbsp;were a primary occupation for Motherwell from 1967 through the 1970s, and briefly into the 1980s. Although it has been common practice to locate Motherwell alternately within the histories of midcentury American painting and Minimalism, the&nbsp;<em>Opens&nbsp;</em>exemplify the cerebral, content-fueled character that sets his work apart: the fragmentary rectangles offer an intense conceptual engagement with dualities of interior and exterior, and with perceptions of nature and space.&nbsp;</div> <div style="text-align: justify;">&nbsp;</div> <div style="text-align: justify;">Coinciding with the centennial of Motherwell&rsquo;s birth, the exhibition comes amid a groundswell of appre-ciation of his significance. In 2012, the Dedalus Foundation (founded by Motherwell in 1981) and Yale University Press published a major catalogue raisonn&eacute; of Motherwell&rsquo;s work. The Art Gallery of Ontario and The Solomon R. Guggenheim Foundation in New York have also produced remarkable studies on Motherwell in recent years, and the Opens themselves are the subject of a dedicated collection of essays and scholarly criticism published in 2010. In February of this year, the Metropolitan Museum of Art in New York opened an exhibition of Motherwell&rsquo;s monumental paintings, collages, prints, and illustrated books drawn from its holdings and those of the Dedalus Foundation.</div> <div style="text-align: justify;">&nbsp;</div> <div style="text-align: justify;">*Mary Ann Caws</div> <div style="text-align: justify;">** Jack Flam</div> <div style="text-align: justify;">&nbsp;</div> <div style="text-align: justify;"><em>Robert Motherwell, a central figure in twentieth-century painting who coined the name &ldquo;The New York School,&rdquo; was born in Aberdeen, Washington, on January 24, 1915. He graduated from Stanford University in 1937 and undertook graduate coursework first at Harvard University, then at Columbia University, where Meyer Schapiro encouraged him to devote himself to painting rather than scholarship. Motherwell had his first solo exhibition at Peggy Guggenheim&rsquo;s Art of This Century gallery in 1944; by the mid-1940s he had become the leading spokesperson for avant-garde art in America. Throughout his life, Motherwell taught and lectured extensively, and exhibited widely at museums in the United States and Europe. In 1965, The Museum of Modern Art, New York held a major retrospective of his work that subsequently traveled to Amsterdam, London, Brussels, Essen, and Turin. Throughout the 1970s and 1980s, he had important retrospective exhibitions in a number of European cities, including D&uuml;sseldorf, Stockholm, Vienna, Paris, Edinburgh, and London. In 1977, Motherwell was given a major mural commission for the new wing of the National Gallery of Art, Washington, D.C. A retrospective of one hundred major works was organized by the Albright-Knox Art Gallery, Buffalo, NY, in 1983 and subsequently traveled to The Los Angeles County Museum of Art; The San Francisco Museum of Modern Art; The Seattle Art Museum; the Corcoran Gallery of Art, Washington, D.C.; and The Solomon R. Guggenheim Museum, New York. Robert Motherwell died in Provincetown, Massachusetts, on July 16, 1991.</em></div> <div style="text-align: justify;">&nbsp;</div> <div style="text-align: justify;"><em>Works from Robert Motherwell&rsquo;s&nbsp;</em>Open<em>&nbsp;series are in the collections of major international institutions including Albright Knox Gallery, Buffalo, NY; The Art Institute of Chicago; The Guggenheim Museum, Bilbao; The Los Angeles County Museum of Art; the Menil Collection, Houston, TX; The Metropolitan Museum of Art, New York; The Museum of Modern Art, New York; the Modern Art Museum of Fort Worth; the San Francisco Museum of Modern Art; The National Gallery of Art, Washington, D.C.; and The Whitney Museum of American Art, New York.</em></div> Fri, 17 Apr 2015 10:34:39 +0000 Stan VanDerBeek - Andrea Rosen Gallery 2 - May 1st - June 20th <p class="p1" style="text-align: justify;">Andrea Rosen Gallery is thrilled to announce an exhibition of Stan VanDerBeek (d. 1984), whose visionary approach to art making was not only radical in his time, but is also increasingly reflective of a contemporary discourse around the integration of media, technology, and everyday life.&nbsp;</p> <p class="p1" style="text-align: justify;">Featuring five of eight computer-animated films that comprise the artist&rsquo;s seminal&nbsp;<em>Poemfield&nbsp;</em>series (1966-1971), as well as a small selection of related computer graphic prints on paper, this presentation illuminates a significant pillar of the gallery&rsquo;s ongoing mission to re-engage historical work within contemporary contexts. &nbsp;&nbsp;</p> <p class="p1" style="text-align: justify;">VanDerBeek first worked on&nbsp;<em>Poemfield</em>&nbsp;at Bell Laboratories in Murray Hill, New Jersey and then as an artist-in-residence at MIT&rsquo;s Center for Advanced Visual Studies in Cambridge, Massachusetts. Originally conceived as a multi-screen installation,<em>Poemfield</em>&nbsp;was eventually included in VanDerBeek&rsquo;s ambitious, moving image and sound environments such as&nbsp;<em>Movie-Drome</em>and&nbsp;<em>Cine Dreams.&nbsp;</em>In each individual film, powerful sequences of words gradually emerge from, and back into, kinetic mosaics of glittering geometric graphics.&nbsp; The images seen within each projection are the visual manifestations of unique poems written in a specific computer language, then processed by an IBM 7094, and ultimately output onto the surface of a cathode ray tube and filmed.&nbsp;</p> <p class="p1" style="text-align: justify;">As a pioneer collaboration between artists and scientists,&nbsp;<em>Poemfield</em>&nbsp;was realized by VanDerBeek with the Bell Labs computer programmer and physicist Ken Knowlton. One of several programs developed by Knowlton, BEFLIX (short for Bell Labs Flicks), was used to make&nbsp;<em>Poemfield</em>&nbsp;and is considered by AT&amp;T as one of the first computer animation languages.&nbsp;</p> <p class="p1" style="text-align: justify;">VanDerBeek also collaborated with musicians John Cage and Paul Motian on some of the varied soundtracks that accompany the films, as well as with filmmakers Robert Brown and Frank Olvey to create profound interplays of intense color. As equal combination of text, image, motion, sound, and color, each&nbsp;<em>Poemfield</em>&nbsp;is, in itself, a multilayered, image experience of the kind for which VanDerBeek is best known.&nbsp;</p> <p class="p1" style="text-align: justify;">VanDerBeek&rsquo;s belief in the computer as an extension of the mind kept him pursuing technology as a revolutionary means of expressing and engaging human consciousness and, for that reason, a necessary tool for an artist to master. Representative of his continued experimentation with computer language, one black and one uncolored, embossed print of a computer graphic used in&nbsp;<em>Poemfield</em>&nbsp;minimally preface one&rsquo;s entrance into the main gallery where&nbsp;<em>Poemfield No.1, No. 2, No.3</em>,&nbsp;<em>No.5</em>, and&nbsp;<em>No.7</em>&nbsp;vibrantly and loudly pulsate across surrounding walls. Two differently colored versions of&nbsp;<em>Poemfield No. 1</em>, as well as&nbsp;<em>Poemfield No. 2</em>, have been restored in high definition, the latter of which will be shown here in the gallery for the first time.&nbsp;</p> <p class="p1" style="text-align: justify;">This exhibition was organized with the Estate of Stan VanDerBeek</p> <p class="p5" style="text-align: justify;"><em>Stan VanDerBeek (1927-1984) studied art at The Cooper Union for the Advancement of Science and Art, New York, and at Black Mountain College, Asheville, NC (1949-1951). During his lifetime, his work was featured in numerous exhibitions and film festivals internationally. Past exhibitions include New Media-New Forms, Martha Jackson Gallery, New York (1960); Found Forms, Cross Talk Intermedia, Japan (1969); Multiple Interaction Team, MIT, Cambridge, MA (1972); Machine Art: An Exhibit of &ldquo;InterGraphic&rdquo; by Professor Stanley VanDerBeek, University of Maryland, Baltimore (1976); Steam Screens, Walker Art Center, Minneapolis (1981); Whitney Biennial, Whitney Museum of American Art, New York (1983); and New American Video Art: A Historical Survey, 1967-1980, Whitney Museum of American Art, New York (1984).&nbsp;</em></p> <p class="p1" style="text-align: justify;"><em>Recent exhibitions that have featured VanDerBeek&rsquo;s work include Stan VanDerBeek: The Culture Intercom, MIT List Visual Arts Center, Cambridge, MA and Contemporary Arts Museum Houston (2011); The Historical Box, Hauser &amp; Wirth, Zurich (2011-12)/London (2012); Ghosts in The Machine, The New Museum of Contemporary Art, New York (2012); Xerography, Firstsite, Essex, UK (2013); The Venice Biennale (2013); Go! You Sure? Yeah, LUMA Foundation, Zurich (2013-14); Cine Dreams: Stan VanDerBeek, Jeronimo Voss, Katie Paterson, Nicola Trussardi Foundation, Milan (2014); New Forms Festival, Vancouver (2014) and Poemfield, The Box, Los Angeles (2014). Upcoming exhibitions include Leap Before You Look: Black Mountain College 1933-1957, The Institute of Contemporary Art, Boston; Hammer Museum of Art, Los Angeles; and Museum of Fine Arts, Houston (2015-16).</em></p> Sat, 02 May 2015 09:26:07 +0000 David Shrigley - Anton Kern Gallery - April 16th - May 23rd Sat, 04 Apr 2015 10:07:14 +0000 Group Show - Apexart - March 19th - May 16th <p style="text-align: justify;">Dioramas and miniatures are used in the field of architecture to preview a vision, in cinema to create a fabricated world, and in workshops as a means for children to process traumatic events. There are many uses for small scale representations of our reality, and artists have long adopted model-making in their own explorations. The artworks in this exhibition move beyond a simple recreation of what surrounds us, creating optical illusions and pieces of wonderment that make viewers look twice.<br /> <br /> At first glance, miniature views of current social realities may appear like child&rsquo;s play. But what do dioramas and miniatures reveal about the psychological impact on artists today? Does the process of making something small allow the artist to feel a certain amount of control? Or does the nearly manic time commitment necessary to recreate day-to-day situations in a small scale tell us something else about the psyche of the creator? <em>Feel Big Live Small</em> explores dioramas and miniatures as well as our fascination with all things small, both as a technical feat and a psychological relationship. &nbsp;</p> Wed, 25 Feb 2015 15:34:38 +0000 Group Show - Apexart - March 19th - May 16th <p><a href="" rel="nofollow"><em>Feel Big Live Small</em> </a>is an exploration of our fascination with all things small, both as a technical feat and a psychological relationship through the lens of dioramas and miniatures.</p> <p>&nbsp;</p> <p>The featured works of 10 artists and collectives tour viewers through the intricate and sometimes odd worlds of their creators.&nbsp;</p> Wed, 25 Feb 2015 20:36:24 +0000 Milton Avery, Chuck Close, Leonard Baskin, Edward Steichen, Norman Rockwell, Anders Zorn - Arkell Museum - March 1st - June 14th <p style="text-align: justify;">An artist&rsquo;s portrait, like all good portraits, offers the viewer more than physical features. One sees the characteristics of the sitter that make that person a unique individual. All artists are involved with, or have a heightened interest in, creative pursuits which makes them interesting candidates for portrait subjects.</p> <p style="text-align: justify;">On the other hand, a self-portrait is an artist&rsquo;s opportunity to make a statement. Traditional portraiture, especially commissioned ones, often came with expectations that the image be a favorable likeness of the sitter. Self-portraiture removed those restrictions enabling artists to be more experimental. This exhibition brings together fifty works in a variety of media that examine self-portraits and portraits of other artists. Included in the show are works by Milton Avery, Chuck Close, Leonard Baskin, Edward Steichen, Norman Rockwell, and Anders Zorn. Sitters include James McNeill Whistler, Thomas Eakins, Charlie Chaplin, C.S. Lewis, and Pablo Casals.</p> Fri, 23 Jan 2015 14:50:12 +0000 Beth Van Hoesen - Arkell Museum - March 1st - June 18th <p style="text-align: justify;">This exhibition features Beth Van Hoesen&rsquo;s creatures which include household pets, zoo animals, worms and salamanders. Beth stated &ldquo;I started with pet rodents, farm animals, dogs and cats. Then came a few birds, then wild animals. I keep meeting new ones I like&hellip;.&rdquo; The works were selected from drawings, lithographs and etchings donated to the Arkell Museum from the E. Mark Adams and Beth Van Hoesen Trust.</p> Sun, 15 Mar 2015 14:16:56 +0000 Hito Steyerl - Artists Space: Exhibitions - March 8th - May 24th <p style="text-align: justify;">This exhibition surveys the work of German filmmaker and writer Hito Steyerl, focusing particularly on the artist's production from 2004 onwards. Over this period Steyerl&rsquo;s films, essays and lectures have uniquely articulated the contemporary status of images, and of image politics. Central to her work is the notion that global communication technologies &ndash; and the attendant mediation of the world through circulating images &ndash; have had a dramatic impact on conceptions of governmentality, culture, economics and subjectivity itself. <br /><br /><em>Hito Steyerl</em> presents eight existing works and one new commission within an exhibition design conceived by the artist and her team. The exhibition spans both Artists Space venues and also encompasses a program of talks and screenings, and an online aggregation of Steyerl&rsquo;s writing. <br /><br />Steyerl studied documentary filmmaking, and her essay films of the 1990s address issues of migration, multiculturalism and globalization in the aftermath of the formation of the European Union. Her films <em>November</em> (2004) and <em>Lovely Andrea</em> (2007) mark a move towards the extrapolation of the essay form as an open-ended means of speculation. They locate representations of herself and her friend Andrea Wolf as object lessons in the politics played out within the translation and migration of image documents. Steyerl&rsquo;s prolific filmmaking and writing has since occupied a highly discursive position between the fields of art, philosophy and politics, constituting a deep exploration of late capitalism&rsquo;s social, cultural and financial imaginaries. Her films and lectures have increasingly addressed the presentational context of art, while her writing has circulated widely through publication in both academic and art journals, often online.<br /><br />The exhibition begins at Artists Space Exhibitions with <em>Red Alert</em> (2007), an installation that succinctly collapses many of the concerns active in Steyerl&rsquo;s work. Three vertically-oriented monitors each show the same solid red shade. The monochrome three-screen film provides a humorous &ldquo;new-media&rdquo; take on Alexander Rodchenko&rsquo;s triptych of paintings <em>Pure Colours: Red, Yellow and Blue</em> (1921), an artwork that has been interpreted as both the &ldquo;end of art&rdquo; and the &ldquo;essence of art.&rdquo; Also referencing the terror alert system introduced by Homeland Security in the wake of 9/11, <em>Red Alert</em> signifies, in Steyerl&rsquo;s words, &ldquo;the end of politics as such (end of history, advent of liberal democracy) and at the same time an era of &lsquo;pure feeling&rsquo; that is heavily policed.&rdquo;<br /><br />These &ldquo;politics of the monochrome&rdquo; are carried further into the scenography of the exhibition. The films <em>Guards</em> (2012) and <em>In Free Fall</em> (2010) are located in labyrinthine &ldquo;black-box&rdquo; spaces that take the viewer from the claustrophobia of a padded corridor, to first-class airline luxury; whereas <em>Liquidity Inc.</em> (2014) is installed in a space bathed in aquatic blue light. As with the majority of Steyerl&rsquo;s films, these works extend from research conducted through interviews and the accumulation of found visual material, and move between forensic documentary and dream-like montage. <em>Guards</em>, produced at the Art Institute of Chicago, centers on conversations with museum security staff with previous military or law enforcement careers. Their descriptions of tactics and strategy point to the museum as a site of militarization and privatization, and to their contradictory position between visibility and invisibility within a space of pure affect and sensation. <em>In Free Fall</em> takes as a central motif an aircraft graveyard in the Californian desert, and builds around the biographies of objects and materials held there a web of connections between economic crash, the volatility of the moving-image industry, and the spectacularization of crisis. Steyerl&rsquo;s most recent film, <em>Liquidity Inc.</em>, treats as dual subjects the figure of Jacob Wood, a former investment banker turned MMA fighter, and water, in all its mutable physical and metaphorical states.</p> <p class="font-medium" style="color: #000000; text-align: justify;">The exhibition continues at Artists Space Books &amp; Talks, with <em>November</em> and <em>Lovely Andrea</em> shown consecutively in the basement space. Steyerl&rsquo;s teenage friend Andrea Wolf, who became a martyr of the Kurdish liberation movement when killed in &Ccedil;atak, Turkey in 1998, serves as a driving force underlying both works. Steyerl develops a reflexive investigative approach in these two films, in which she documents her journeys in tracing the circulation of particular images and strands of information. This approach positions her own body and subjectivity, alongside that of Wolf, between primary documents and allegorical sites &ndash; at which complex flows of desire, control and capital intersect. <br /><br />Such an approach is also evident in three lecture-based works exhibited on the ground floor. In recent years Steyerl&rsquo;s practices as filmmaker and writer have intersected in these works, that begin as public lectures given by the artist and then find a second form in their documentation and presentation both online and in exhibitions. They are distinctive in placing Steyerl center stage &ndash; as investigative voice, as image &ldquo;body,&rdquo; as subject and object &ndash; and catalyze theoretical speculation with their use of visual and linguistic cues. <em>I Dreamed a Dream</em> (2013), <em>Is the Museum a Battlefield?</em> (2013) and <em>Duty Free Art</em> (2015) depart from experiences the artist recounts, that blur the lines between fact and fiction. Particularly present in these works are Steyerl&rsquo;s visits to Kurdistan and to the site of Andrea Wolf&rsquo;s murder, which have brought Steyerl in contact with the current humanitarian crisis in the region, stemming from military actions in Syria. <br /><br /><em>Duty Free Art</em> is a new lecture, presented for the first time at the opening of this exhibition. It builds a thread of connections between leaked emails from Syrian government accounts, and the growing phenomenon of the &ldquo;freeport&rdquo; &ndash; storage facilities where millions of dollars of artworks are held without incurring taxes. As concentrated sites of the dialectics apparent in Steyerl&rsquo;s films and writing, her lectures articulate the notion of the artist as performing image, as producer and as circulator. Steyerl has coined the term &ldquo;circulationism&rdquo; in order to describe a state that is &ldquo;not about the art of making an image, but about post-producing, launching, and accelerating it.&rdquo;</p> <p style="text-align: justify;">This exhibition is supported by the Friends of Artists Space; the Graham Foundation for Advanced Studies in the Fine Arts; and the <em>Hito Steyerl</em> Exhibition Supporters Circle: Andrew Kreps Gallery, Eleanor Cayre, Nion McEvoy, and the Goethe-Institut New York.<br /><br />With thanks to David Riff for the co-design of the exhibition, Christoph Manz for technical direction, Wilfried Lentz, Andrew Kreps, Alice Conconi, and Micha Amstad.</p> Sun, 22 Mar 2015 17:53:13 +0000