ArtSlant - Current exhibits en-us 40 Mike Nelson - 303 Gallery - January 17th - February 21st <p style="text-align: justify;">303 Gallery is pleased to present our second solo exhibition with Mike Nelson.</p> <p style="text-align: justify;">On this occasion, Nelson will present <em>Gang of Seven,</em> a collection of sculptural assemblages made of materials collected from the North West Pacific Coast. The work revisits and expands upon themes and forms Nelson introduced in <em>he Amnesiacs</em>in 1997, in which a group of imaginary outsiders gather and wantonly sift through natural and cultural detritus, rearranging it and approaching dark phenomenological truths along the way. In <em>Gang of Seven,</em> Nelson's mythical beachcomber imagines the ocean as an intelligent entity of seemingly infinite sprawl, uncovering alien clues in the flotsam and jetsam, akin to the cosmonauts' relationship to the hallucination-inducing ocean in Stanislaw Lem's epic <em>Solaris</em>. These evidences of apocryphal events exist in a disjointed space between remnant and invention, and when brought together, effect the possibility for new systems of understanding.</p> <p style="text-align: justify;">In <em>Being-No-One,</em> the German post-transcendentalist philosopher Thomas Metzinger refers to a 'virtual window of presence' through which we experience time and imagine ourselves as autonomous beings. Nelson's assemblages point to what we might see if we were able to look not through this window, but behind it; an envisioning of material and psychic forces that are determinate structures in human interpretation of our own cultivated landscapes. To this end, a bracingly human element of <em>Gang of Seven</em> is the influence of personal history; that of Nelson's relationship to longtime friend and collaborator Erlend Williamson, who fell to his death in 1996 while climbing in the Scottish Highlands, just as Nelson was developing the ideas that would become <em>The Amnesiacs.</em> This is also mirrored in the title's reference to the 'Group of Seven', the loose collective of landscape painters whose formation came after the death of Tom Thomson in a canoeing accident in Ontario, 1917. By introducing these elements into a space in which they exchange charges with other societies, real and imagined, absent and present, Nelson as author is simultaneously in front of and behind the window - negotiating the blindness of consciousness to envision its constitution.</p> <p style="text-align: justify;"><em>Lorna said to me, 'You know Riddley theres some thing in us it dont have no name.'?I said, 'What thing is that?' She said, 'Its some kind of thing aint us but yet its in us. its lookin out through our eye hoals... It aint you nor it don't even know your name. Its in us lorn and loan and sheltering how it can... Tremmering it is and feart. It puts us on like we put on our cloes. Some times we dont fit. Some times it cant find the arm hoals and it tears us a part.'</em></p> <p style="text-align: justify;">-Russell Hoban, <em>Riddley Walker,</em> Jonathan Cape, 1980</p> <p style="text-align: justify;"><em>Gang of Seven</em> was originally co-commissioned by The Contemporary Art Gallery, Vancouver and The Power Plant, Toronto, where Nelson produced solo exhibitions in 2013 and 2014. A catalogue is forthcoming from Black Dog Publishing. Other recent solo exhibitions include <em>M6,</em> Eastside Projects, Birmingham (2013); <em>408 tons of imperfect geometry, </em>Malm&ouml; Konsthall (2012);&nbsp;I<em>, IMPOSTOR,</em> British Pavilion, 54th Biennale di Venezia (2011);&nbsp;<em>A Psychic Vacuum, </em>Creative Time, New York (2007);&nbsp;<em>AMNESIAC SHRINE&nbsp;or Double coop displacement,</em> Matt's Gallery, London (2006);&nbsp;<em>Triple Bluff</em> Canyon, Modern Art Oxford (2004); <em>Nothing is True. Everything is Permitted,</em> ICA, London (2001). His work has been included in a number of group exhibitions including <em>September 11, </em>MoMA PS1, New York (2011); Singapore Biennale (2011);&nbsp;<em>Altermodern,</em> Tate Britain, London (2009);&nbsp;<em>Psycho Buildings, </em>Hayward Gallery, London (2008);&nbsp;<em>Eclipse: Art in a Dark Age,</em> Moderna Museet, Stockholm (2008);&nbsp;Reality Check, Statens Museum for Kunst, Copenhagen (2008); and Turner Prize, Tate Liverpool (2007). Mike Nelson lives and works in London.</p> Sat, 03 Jan 2015 06:05:35 +0000 Nobuyoshi Araki, Barbara Ess, Darcy Lange, Wolfgang Tillmans, Jeff Wall - 3A Gallery - November 19th, 2014 - February 14th <p>Artist Dan Graham's photography collection which he traded with his artist friends.</p> Tue, 18 Nov 2014 00:18:04 +0000 Ira Richer - 532 Gallery Thomas Jaeckel - January 17th - February 14th <p style="text-align: justify;">532 Gallery Thomas Jaeckel presents an exhibition of work by Ira Richer.<br /> Including recent paintings and earlier works in Formica that were shown at Nosei Gallery.</p> <p style="text-align: justify;">When describing the work Anthony Haden-Guest writes:</p> <p style="text-align: justify;"><em>These pieces combine deft materiality and wit. As with the hammer, the magnet, the exclamation point, the scribbled title in &ldquo;Gulf&rdquo;. So too the paintings. Richer&rsquo;s palette inclines to early summer and isn&rsquo;t scared of black. Note the shadow in &ldquo;The Yellow Cave&rdquo;.&nbsp; His line can be at once elegant and muscular as in the &ldquo;Massage&rdquo;Painting in a way reminiscent of early Hockney &ndash; and there&rsquo;s nothing whatsoever wrong with that &ndash; but where Hockneys are purposefully allusive, something anecdotal, these are simply what they are. A fully-formed figure is often a presence, as dominant as in Munch or Dubuffet, but as with these artists, they are not borrowed from elsewhere. The picture-plane is the petri dish in which they exist. Nothing decorative, every form has meaning, but it is often enigmatic.</em></p> <p style="text-align: justify;"><em>An engaging shape that is central to two canvases looks somewhat like a tuber or &ndash; it is pinkish &ndash; might it be a human organ? It doesn&rsquo;t matter. Richer&rsquo;s form happens to be based on a female figure, bending. Behind her, on one canvas is the table at which Cezanne&rsquo;s card players are seated and the other seems to sport black shoes and gloves. Hamlet, toying with Polonius, says: Do you see yonder cloud that&rsquo;s almost in shape of a camel? Decoding forms is a natural function of the brain.</em></p> <p style="text-align: justify;"><em>So the paintings in the show look kind of radical in a period of when so much that floats its seemingly critic-proof way through the market looks strategic rather than felt. &ldquo;When I think of Munch&rsquo;s&nbsp;Scream. I think how lucky he was to have a pier to scream on above Oslo, by himself all alone.&rdquo; Ira Richer says, &ldquo;Man has become a species whose land is reduced to a table top. His existence is engineered and contorted by others. And the last indignity- is- we have to hold our smile&rdquo;. I see fugitive signs that the times may be a-changing though.</em></p> <p style="text-align: justify;"><em>These paintings are such signs of life.</em></p> <p style="text-align: justify;">Ira Richer studied at Cooper Union (BFA) and at Yale University (MFA). Ira is a Professor of Drawing and Advanced Painting at the School of Visual Arts, New York. His work is in the collection of the Vincent van Gogh Foundation Arles, France; the Bob Blackburn Collection/Smithsonian Institute; the J.Patrick Lannon Foundation; the Francisco Pellizzi collection; the collection of Lucien, Yolande and Ann Clergue among others.</p> <div style="text-align: justify;">The writer Anthony Haden-Guest has contributed to the Financial Times weekend column on art collecting, Vanity Fair, The New Yorker, Paris Review, The New York Observer, Art Forum, Esquire UK .</div> Tue, 13 Jan 2015 16:46:47 +0000 Peter Blume - ACA Galleries, Est 1932 - November 6th, 2014 - January 31st <p align="center"><strong><span style="color: #1b8be3;">PETER BLUME (1906-1992)</span></strong></p> <p align="center">November 6, 2014 through January 31, 2015</p> <p align="center"><span style="text-align: left;">&nbsp;</span></p> <p>ACA Galleries is pleased to announce the upcoming exhibition, PETER BLUME (1906-1992),on view <strong>November 6, 2014 through January 31, 2015</strong>.&nbsp; The exhibition will feature paintings, drawings and sculpture from the artist&rsquo;s estate. &nbsp;</p> <p>Concurrent with the ACA Galleries exhibition is the firstPeter Blume retrospective since 1976, <strong><em>Nature and Metamorphosis</em></strong>, organized by the <strong>Pennsylvania Academy of the Fine Arts (PAFA)</strong>, Philadelphia <strong>(November 14, 2014 &ndash; April 5, 2015).</strong>&nbsp; This exhibition will travel to the <strong>Wadsworth Athenaeum</strong>, Hartford, CT <strong>(June 27 &ndash; September 20, 2015).</strong>&nbsp; Catalogue will be available. &nbsp;&nbsp;</p> <p>Peter Blume&rsquo;s modernism embodies the clashing contradictions of the 20th Century: abstract complexities with nostalgia for a simpler past; the rush of urban living with the yearning for a lost pastoral life; the cold reality of politics with the quest for spiritual meaning in a world ravaged by two world wars and a ruinous economic depression. &nbsp;By embracing the irreconcilable, Blume transcends Modernist art&rsquo;s conventional aspirations to re-define order in a chaotic world. &nbsp;His oeuvre is metamorphosis itself, a realm where paradox rules. &nbsp;Within that clash Blume found profound meaning and sublime beauty.</p> <p>Blume&rsquo;s deep knowledge of art history holds these disparate elements together. &nbsp;We see the elegance of Renaissance rendering, the balance and figurative perfection of Classical antiquity, the rule-breaking energy of Modernism, and the spontaneity of folk art. &nbsp;The latter reflects his Russian Jewish roots and his embrace of the culture of his adopted land, America. &nbsp;Together with his understanding of the emotional properties of color, the structural backbone of architecture, and the physicality of sculpture, Blume was able to corral these elements into a surreal narrative. &nbsp;&nbsp;</p> <p>Adding richness to Blume&rsquo;s already complex mix of influences was his involvement with metaphysical experimentation. &nbsp;His interest in Automatism and &ldquo;automatic writing&rdquo; found its way into his preliminary studies for paintings and his works on paper in particular, where he allowed his hand to move spontaneously across a surface. &nbsp;The results are dynamic works of flowing lines and exciting shapes existing in metaphysical tension, where the physical facts of the world meet the whispered secrets of the mind and spirit.</p> <p>In a life that spanned nearly the entirety of the 20th Century, Blume&rsquo;s art recorded not the dry facts of that century but the soul of it, its struggles against incomprehensible violence, and its triumphs of survival over man-made madness. This achievement won Blume critical acclaim throughout his career, winning a Guggenheim Fellowship and the Carnegie International Prize in the 1930s.&nbsp; His work is represented in major public and private collections including The Metropolitan Museum of Art, Museum of Modern Art, and The Whitney Museum of American Art in New York; the Smithsonian Institution of American Art in D.C.; Carnegie Museum of Art in Pittsburgh; Museum of Fine Arts in Boston and the Art Institute of Chicago, among others.</p> <p>&nbsp;<em>&nbsp;</em></p> <p align="center"><em>For additional information and images, contact </em></p> <p align="center"><em>Mikaela Sardo Lamarche</em></p> <p align="center"><em></em></p> Thu, 13 Nov 2014 16:48:02 +0000 Paul Thek - Alexander and Bonin - January 10th - February 21st Wed, 03 Dec 2014 07:01:59 +0000 Hugh Steers - Alexander Gray Associates - January 8th - February 14th <p style="text-align: justify;">Alexander Gray Associates presents an exhibition of work by Hugh Steers (b.1962, Washington, DC &ndash; 1995, New York), including paintings and works on paper produced between 1990 and 1992 that exemplify Steers&rsquo; virtuous use of light and color to render allegorical and humanist images. The featured works illustrate his creative process of working through ideas and formal concerns by generating expressionistic oil on paper sketches before painting larger compositions on canvas. The exhibition positions Steers&rsquo; residency at Skowhegan School of Painting and Sculpture in the summer of 1991, as a turning point in the artist&rsquo;s practice. Through the 1980s, Steers painted interiors scenes as he gradually developed an aesthetic characterized by vivid colors.&nbsp;While at Skowhegan, he turned toward outdoor landscapes,&nbsp;brightening his color palette&nbsp;and emphasizing the presence of natural light. The works on exhibit reveal Steers&rsquo; ability to render light through color, often suffusing his scenes with the confluence of both natural and artificial light references and resulting in visually powerful scenes imbedded with a heightened intimacy.<br /> <br /> Hugh Steers&rsquo; understanding of color and light, and his ability to express a wide range of emotions through figuration, reveal 
his deep knowledge of and direct influences from Art History. The contrasting lighting and glow of his work often reference Michelangelo Merisi da Caravaggio, his elongated and sharp figures are informed by El Greco, his intimate imagery and unorthodox poses point to Pierre Bonnard and Edgar Degas, and his figurative compositions speak to Edward Hopper. Grounded in technique and the history of Western painting, he described his work as &ldquo;allegorical realism&rdquo; designed &ldquo;to draw 
the viewer in through the lure of a comfortingly recognizable style and then confront him with a subject matter of a 
challenging nature.&rdquo;&nbsp;<br /> <br /> Primarily depicting isolated solitary figures or couples, Steers presents the viewer with ambiguous and disconcerting scenes, suggesting, but not fully defining narrative content. In <em>Telephone Poles</em>&nbsp;(1991), created at Skowhegan, the plunging perspective of a simultaneously bright and shadowed bucolic landscape centers on a lone male figure with a bag over his head, dwarfed by skewed and looming telephone poles. Diagnosed in 1987 with HIV, Steers&rsquo; subject matter often speaks to the experience of living through&nbsp;an evolving Queer identity and the devastating AIDS crisis. Much of his work addressed illness, isolation, alienation, companionship, and sexuality, as embodied in&nbsp;<em>Maroon Shed</em>&nbsp;(1991), also done during the summer Residency.&nbsp;While he described his images as &ldquo;metaphors that come from very specific needs and things on my part,&rdquo; he repeatedly insisted that the meanings of his paintings depended on what the viewer brings to them. For Steers, his work powerfully embodies the clash between mass culture and personal instinct.&nbsp;</p> Sat, 03 Jan 2015 06:12:42 +0000 - American Folk Art Museum - December 16th, 2014 - March 8th <p style="text-align: justify;">The Barbara L. Gordon collection offers a stunning presentation of American folk art made primarily in rural areas of New England, the Midwest, and the South between 1800 and 1920. More than sixty works of art, including still-life, landscape, allegorical, and portrait paintings, commercial and highly personal sculpture, and distinctive examples of art from the German-American community exemplify the breadth of American creative expression by individuals who did not always adhere to the academic models that established artistic taste in urban centers of the East Coast. <br /> <br /> The exhibition is drawn from the Barbara L. Gordon collection and is organized and circulated by Art Services International, Alexandria, Virginia. <br /> <br /> Major support for the presentation at the American Folk Art Museum is provided by HISTORY&reg;.<br /> <br /> The exhibition is accompanied by a full-color catalog copublished by ASI and the international publishing firm SKIRA/Rizzoli.</p> <p style="text-align: justify;">Additional support is provided by Joyce Berger Cowin, the David Davies and Jack Weeden Fund for Exhibitions, 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> Sun, 19 Oct 2014 09:16:26 +0000 Annette Kelm - Andrew Kreps Gallery @ 535 West 22nd - January 22nd - February 21st <p style="text-align: justify;">The Andrew Kreps Gallery is pleased to present <em>Archive</em>, its third solo show with Annette Kelm. Interested in typologies, models of mass production, the function of objects and the nature of their representation, stylistic developments in patterned textiles, design, and technology, Annette Kelm&rsquo;s work conflates several genres in single images, or develop single motifs in series of images that combine a variety of artistic, historical, and cross-cultural references.</p> <p style="text-align: justify;">Kelm&rsquo;s newest photographs belie an interest in cultural history based on her investigations of archives and institutional modes of representation. Three series of works form the exhibition: images of vitrines, taken in German museums, that capture the style of the 70s and 80s, images of pink overalls arranged in the artist&rsquo;s studio, and photographs of white cloaks painted with protest slogans. All the works are tied to German feminist movements of the last 50 years.</p> <p style="text-align: justify;"><em>Latzhose (Dungarees)</em>, 2014 are four works in which the photographed object is a pair of purple overalls arranged and displayed on the neutral, flat background of Kelm&rsquo;s studio floor. In Germany during the 70&rsquo;s overalls (dungarees) were perceived as typical men&rsquo;s work wear, but female activists and their supporters dyed them purple - red conventionally stood for the female and blue for male, therefore purple was the color in between, ultimately becoming a symbol of women&rsquo;s liberation. The myriad serial formal configurations of the item in Kelm&rsquo;s photographs reinforce the overalls as a symbol &ndash; while also foregrounding the quotidian aspect of these socio-political signifiers that crowd our visual world.</p> <p style="text-align: justify;">The artist explores forms of protest developed by the actress, sociologist and activist Hannelore Mabry (1930-2013), who resided in Munich from 1966 until her death last year, as well as other members of the <em>Neue Frauenbewegung</em> (New Women&rsquo;s Movement) in Germany. Intentionally deploying a direct and documentary-like style, the photographs depict K&ouml;rperüberh&auml;nge (body cloaks), in the archive of Munich&rsquo;s Institut für Zeitgeschichte (Institute for Contemporary History), which were worn during demonstrations. These robes and capes were made out of bed sheets and painted with large letters and bold political slogans. For Kelm they function as tropes for Mabry&rsquo;s political agenda and legacy, as well as for the student rebellions of the 1960s, which mounted the struggle for women&rsquo;s rights on an unprecedented scale.</p> <p style="text-align: justify;">Finally, a small group of photographs taken in history museums in Munich and Karlsruhe will be exhibited, which feature tableaus of the &ldquo;style&rdquo; of the 70s and 80s (including the overalls). These images question how these activist gestures and tropes are portrayed as curt and clich&eacute;d rather than complex political movements of their time.</p> <p style="text-align: justify;">Annette Kelm (*1975, Stuttgart, Germany) lives and works in Berlin. Her work has been presented in solo exhibitions at international institutions, including Espace LouisVuitton, Munich and K&ouml;lnischer Kunstverein (2014), Presentation House Gallery, Vancouver (2012), Bonner Kunstverein (2011), Art Institute for Contemporary Art, Berlin (2009), Kunsthalle Zurich (2009) and CCA Wattis Institute, San Francisco (2008). In addition, Annette Kelm's works were featured in numerous group exhibitions, most recently at MoMA, New York (2013) and Frankfurter Kunstverein (2013). In 2012 she participated in the 12th Istanbul Biennial and 2011 in the 54th Venice Biennial.</p> <p style="text-align: justify;">She will have a solo show at the Museum of Contemporary Art in or Detroit, curated by Jens Hoffman, in 2016.</p> Fri, 23 Jan 2015 14:46:23 +0000 Cheyney Thompson - Andrew Kreps Gallery @ 537 W. 22nd - January 22nd - February 21st <p style="text-align: justify;">The Andrew Kreps Gallery is pleased to present Cheyney Thompson&rsquo;s sixth solo exhibition at the gallery entitled&nbsp;<em>Birdwings and Chambered Shells.</em>&nbsp;The show will include paintings and a set of drawings, all with&nbsp;new optimized titles.&nbsp;Thompson&rsquo;s latest series of works continue his investigation of the technology, production and distribution of painting. The works on view are based on the random walk algorithm, a formalization of Brownian motion that is used in financial instruments to model market behavior.</p> <p style="text-align: justify;">Combining models of standardization, in the use of Munsell&rsquo;s color system, with models of dynamic processes, in the use of random walks, the resulting works attempt to trace a line between painting&rsquo;s twin imperatives of capture and exposure.</p> <p style="text-align: justify;">The show takes its title from Don DeLillo&rsquo;s novel&nbsp;<em>Cosmopolis</em>, from hedge fund manager&rsquo;s Eric Packer&rsquo;s hyperbolic ode to the Efficient Market Hypothesis, in which he claims to recognize the &ldquo;heave of the biosphere&rdquo; in the streams of numbers and charts of currency indexes.</p> <p style="text-align: justify;">Cheyney Thompson has had solo exhibitions at the MIT List Visual Arts Center, Cambridge, Massachusetts (with an accompanying monograph), and the Kunstverein Braunschweig, Germany; and his work was included in the 2008 Whitney Biennial.&nbsp; Group shows include: <em>Une Histoire,</em> Centre Pompidou, Paris, France, <em>Chat Jet - Painting &lsquo;Beyond&rsquo; The Medium</em> at K&uuml;nstlerhaus Graz; <em>The Indiscipline of Painting</em>, Tate St. Ives, England; <em>Systems Analysis</em> at West London Projects and Langen Foundation, Germany; <em>Greater New York</em> at P.S.1 Contemporary Art Center and The Venice Biennale, Venice, Italy in 2003.</p> <p style="text-align: justify;">Cheyney Thompson&rsquo;s work is part of the permanent collections of MoMA, New York and Centre Pompidou, Paris.</p> <p style="text-align: justify;">For more information and images please contact Hannah Mandel at:&nbsp;</p> Fri, 23 Jan 2015 14:47:31 +0000 Erik van Lieshout - Anton Kern Gallery - January 15th - February 28th <p style="text-align: justify;">We are pleased to announce our representation of Erik Van Lieshout and his first solo show at the gallery.</p> Thu, 18 Dec 2014 09:04:04 +0000 Una Lee, Annea Lockwood, Chris H. Lynn, Robert Macfarlane, Ed Osborne, David Rothenberg, Chris Watson, GEORGE QUASHA, Charles Stein - Apexart - January 15th - March 7th <p style="text-align: justify;">An Unsolicited Proposal Program winning exhibition.<br />Learn more about the <a href="" target="_blank">Unsolicited Proposal Program</a>.</p> <p style="text-align: justify;">Contemporary musicians and sound artists are indebted to the 19th century German physicist Herman Helmholtz (1821-1894) who authored <em>On the Sensations of Tone as a Physiological Basis for the Theory of Music</em> (1862). In the book, Helmholtz explored the mathematical, physiological, and perception effects of sound: &ldquo;We perceive that generally, a noise is accompanied by a rapid alternation of different kinds of sensations of sound. Think, for example, of the rattling of a carriage over granite paving stones, the splashing or seething of a waterfall or of the waves of the sea, the rustling of leaves in a wood.&rdquo; <br /><br /> Artistic disciplines examining sound have emerged since Helmholtz&rsquo;s research, &ldquo;the waves of the sea&rdquo; has turned into acoustic ecology that examines how sound is an integrative principle in human and natural environments. Field recordings have proliferated in recent years due to the availability and portability of high quality recording equipment, enticing composers and sound artists to take their studios to the edge of the wilds or down the street. The exhibition and two public performance events draw together nine artists/composers whose works poetically map sound that reflect and emerge from their interaction with the natural environment.</p> <p style="text-align: justify;">Unsolicited Proposal Program Winner 2014-15</p> <p style="text-align: justify;"><strong>Alastair Noble</strong> is an environmental/installation artist and printmaker from the UK, now based in New York City. His artistic practice is a response to architecture and the natural environment and reflects on particular sites in the context of poetry and literature. In May 2014 he was an artist-in-residence at the Marsh-Billings-Rockefeller National Historical Park in Woodstock, Vermont. Alastair's artistic career spans 30 years with exhibitions and residencies in the UK, Peru, Chile, Bulgaria, and Italy. He has taught and lectured at numerous colleges, universities, and public institutions, and has curated exhibitions and organized symposiums on art, poetry, and the environment. His essays, articles, and reviews on art and architecture have also appeared in national and international publications.</p> Thu, 11 Dec 2014 11:15:31 +0000 Kaspars Groševs, Leva Kraule, Kristine Kursisa, Daria Melnikova, Evita Vasiljeva, Armands Zelčs, Miks Mitrevics - Art in General - January 22nd - February 21st <p style="text-align: justify;">Art in General presents <em>Lily&rsquo;s Pool</em>, a group exhibition organized in partnership with <em>kim?</em> Contemporary Art Centre, Riga, Latvia as part of the International Collaborations program.</p> <p style="text-align: justify;"><em>Now I will tell you what happened at the Lily&rsquo;s Pool. A welcome ceremony. It was on the verge of North and South. Yet everyone remembered a sunlight. Some say it was a perpetual flight, others claim the moon needed one half of a turn.</em></p> <p style="text-align: justify;">Featuring the work of seven emerging Latvian artists, the group exhibition <em>Lily&rsquo;s Pool</em> attempts to capture the presence of subtle, tangible, and poetic phenomena within a mediated post-Internet, &ldquo;post-natural&rdquo; culture. The participating artists utilize the varied mediums of drawing, painting, sculpture, textile, and performance to grapple with the personal and historical memory of materials in a contemporary society engrossed in the fleeting structure of the digital. The works in the exhibition create environments that are at once palpable and uncanny, examining how the physical and social body is affected by accelerated temporalities and the sensations of high-speed browsing and sharing in daily life.</p> <p style="text-align: justify;">A karaoke performance by Kaspars Gro&scaron;evs will take place during the opening reception on January 22, 2015. The performance is inspired by Latvian sculptor and writer Edward Leedskalnin (b. 1887) who crafted the <em>Coral Castle</em> monument in Florida after emigrating to the United States. <em>Coral Castle</em> was dedicated to the artist&rsquo;s former Latvian lover he called &ldquo;Sweet Sixteen.&rdquo;</p> <p style="text-align: justify;"><strong>Kaspars Gro&scaron;evs</strong> (1983) graduated from the Art Academy of Latvia. Recent solo exhibitions include <em>OAOA (Jūras griesti)</em> (in collaboration with Oļa Vasiļjeva) at Jūras Vārti, Ventspils (2014); <em>00:10:00:00</em> at <em>kim?</em> Contemporary Art Centre, Riga (2013); <em> I/O. Without Enemies</em> at <em>kim?</em> Contemporary Art Centre, Riga (2011) and H at Kanepes Culture Centre, Riga (2012). Gro&scaron;evs&rsquo; work has been shown in group exhibitions such as <em>Vortex</em> at Project Space Garage, Moscow (2014) and <em>Aspen-Kemmern</em> at <em>kim?</em> Contemporary Art Centre, Riga (2014). He has also collaborated with Vivienne Griffin and Cian McConn on various performances and contributed to <em>Studija</em> magazine. Gro&scaron;evs is a co-founder and curator of gallery 427 in Riga.</p> <p style="text-align: justify;"><strong>Leva Kraule</strong> (1987) is currently a MA candidate in Visual Communication at the Art Academy of Latvia. Recent solo exhibitions include <em>Nobody dances like that anymore</em> at gallery 427, Riga (2014); <em>&hellip;if all you told was turned to gold</em> at Vita Kuben, Ume&aring; (2014); <em>Loneliness will be my greatest treasure</em> at Kalnciema kvartāls gallery, Riga (2014); <em>11 out of 10</em> at <em>kim?</em> Contemporary Art Centre, Riga (2013) and <em>Long Awaited Holidays by the Abyss of Fictitious Memories</em> at the gallery Bastejs, Riga (2012). Kraule is a co-founder and curator of gallery 427 in Riga.</p> <p style="text-align: justify;"><strong>Kristīne Kursi&scaron;a</strong> (1979) attended Higher Courses of Film Writers and Directors Institute in Moscow and received her M.A. in Visual Communication at Art Academy of Latvia. Kursi&scaron;a has been collaborating with artist Miks Mitrēvics since 2003. Recent solo exhibitions include <em>April showers</em> (with M. Mitrēvics) at P/////AKT, Amsterdam (2014); <em>Let me google that for you</em> (with M. Mitrēvics) at Netwerk, Contemporary Art Center in Aalst, Belgium (2014) and Galerie VidalCuglietta in Brussels (2013) and <em>Seven Thursdays</em> (with M. Mitrēvics) at <em>kim?</em> Contemporary Art Centre, Riga, (2012). Kursi&scaron;a&rsquo;s work has been shown in group exhibitions such as <em>Society Acts &ndash; The Moderna Exhibition 2014</em> at Moderna Museet Malm&ouml;, Sweden (2014) and <em>Vortex</em> at Project Space Garage, Moscow (2014).</p> <p style="text-align: justify;"><strong>Miks Mitrēvics</strong> (1980) received his Postgraduate (Laureate) at HISK &ndash; Higher Institute for Fine Arts in Belgium and his M.A. in Visual Communication at Art Academy of Latvia. Mitrēvics has been collaborating with artist Kristīne Kursi&scaron;a since 2003. Recent solo exhibitions include <em>April showers</em> (with K. Kursi&scaron;a) at P/////AKT, Amsterdam (2014); <em>Let me google that for you</em> (with K. Kursi&scaron;a) at Netwerk, Contemporary Art Center in Aalst, Belgium (2014) and Galerie VidalCuglietta in Brussels (2013) and <em>Seven Thursdays</em> (with K. Kursi&scaron;a) at <em>kim?</em> Contemporary Art Centre, Riga (2012). Mitrēvics&rsquo; work has been shown in group exhibitions such as <em>Society Acts &ndash; The Moderna Exhibition 2014</em> at Moderna Museet Malm&ouml;, Sweden (2014) and <em>Vortex</em> at Project Space Garage, Moscow (2014). Mitrēvics represented Latvia in the 53rd International Art Exhibition of the Venice Biennale.</p> <p style="text-align: justify;"><strong>Daria Melnikova</strong> (1984) attended the Art Academy of Latvia, Department of Visual Communication. Recent exhibitions include <em>Brewing Harmony</em> at Gallery Vita Kuben, Ume&aring;, Sweden (2014); <em>A Green Silhouette of Grey</em> at <em>kim?</em> Contemporary Art Centre, Riga (2014) and <em>Dashing Lines and Forming Heaps</em> at <em>kim?</em> Contemporary Art Centre, Riga (2011). Melnikova&rsquo;s work has been shown in group exhibitions such as <em>Literacy-Illiteracy</em> at the 16th Tallinn Print Triennial, KUMU, Tallinn (2014); <em>Present Tense</em> at Kalmar konstmuseum, Kalmar (2014); <em>Aspen&ndash;Kemmern</em> at <em>kim?</em> Contemporary Art Centre, Riga (2014); <em>Vortex</em> at Project Space Garage, Moscow (2014); <em>Sculpture Is Space</em> at Hobusepea, Tallinn (2013) and <em>24 Spaces &ndash; Cacophony,</em> Malm&ouml; Konsthall, Malmo (2013).</p> <p style="text-align: justify;"><strong>Evita Vasiļjeva</strong> (1985) attended the Gerrit Rietveld Academy in Amsterdam and is currently a resident at De Ateliers, Amsterdam. Recent solo exhibitions include <em>Parallel to Vertical</em> at <em>kim?</em> Contemporary Art Centre, Riga (2013). Vasiļjeva&rsquo;s work has been shown in group exhibitions such as <em>Aspen-Kemmern</em> at <em>kim?</em> Contemporary Art Centre, Riga (2014); <em>Vortex</em> at Project Space Garage, Moscow (2014); <em>NF presents: from A to BE to SEE to D</em> at <em>kim?</em> Contemporary Art Centre, Riga (2014); <em>Monograms</em> at Gallery Vita Kuben, Ume&aring;, Sweden (2014) and <em>Indian Summer</em> at Gallery Fons Welters, Amsterdam (2013).</p> <p style="text-align: justify;"><strong>Armands Zelčs</strong> (1978) attended the Art Academy of Latvia, Department of Visual Communication, and the Berlin University of the Arts (UdK), Fine Arts Department. Recent solo exhibitions include <em>Trails of Fading Landscapes</em> (2013) and <em>That is not which is. The name of that is known</em> (2011) at <em>kim?</em> Contemporary Art Centre in Riga. Zelčs&rsquo; work has been shown in group exhibitions such as <em>24 Spaces &ndash; Cacophony</em> at Malm&ouml; Konsthall, Malmo (2013), <em>Exchange</em> at Gallery Stiftung akku Emmen, Lucerne, Switzerland (2012); <em>A Smiling Lady on a Tiger</em> at St&auml;dtische Galerie, Bremen, Germany (2010) and <em>Qui Vive?</em> at the Moscow Museum of Modern Art (2010).</p> <p style="text-align: justify;"><em><strong>kim?</strong></em><strong> Contemporary Art Centre</strong> (Riga, Latvia) was founded in 2009 and supports the developments of emerging artists, curators, and theoreticians through exhibitions, lectures, publications, and other programs related to recent art, theory, and social issues. In 2013, kim? and Art in General co-curated the Latvian pavilion at the 55th Venice Biennale. Recent international collaboration projects include <em>Vortex</em> at the Garage Museum for Contemporary Culture in Moscow; a series of three solo exhibitions at Vita Kuben Gallery in Sweden, and Ola Vasiljeva&rsquo;s New Commission <a href="" target="_blank"><em>Jargot</em></a> at Art in General.</p> <p style="text-align: justify;">Art in General would especially like to acknowledge the support of the Trust for Mutual Understanding, New York.</p> <p style="text-align: justify;">This exhibition marks the opening of the public diplomacy and cultural program for the Latvian Presidency of the Council of the European Union in the United States of America.</p> <p style="text-align: justify;">Curated by <em>kim?</em> Contemporary Art Centre</p> <p>&nbsp;</p> Tue, 13 Jan 2015 16:49:44 +0000 Lea Cetera - Art in General - January 22nd - February 21st <p class="p1">Art in General is pleased to present <em>Sprawl</em>, a New Commission with Lea Cetera in the Storefront Project Space.</p> <p class="p1"><strong>Performances: </strong>Thursday, January 22, 6&ndash;8pm; Saturday, February 21, 5&ndash;6pm</p> <p class="p1">In this newly created installation, Cetera draws inspiration from the consumer language of the storefront window, employing its specific layers of flattened perspective produced by glass-walled architecture, and tight proximity of space that is both public and private. As with her broader artistic practice that often updates the concerns of 1960s Minimalism, Cetera here engages with the phenomenological aspects of navigating the built environment that influence our psychological and emotional states. This project includes performance, live-feed and prerecorded video, and a series of new sculptures that recall the window grates and security fences that are prominent features of the urban landscape. Her objects reference these peripheral, precautionary elements found in New York City in their formal relationship to the human body&rsquo;s scale and shape, as well as their functionality in guiding or blocking the body&rsquo;s capacity to grasp, reach, or climb. Addressing the condition of simultaneous visibility and invisibility that comes with city dwelling, <em>Sprawl </em>draws the street viewer and passerby into a fourth, projected space that implicates them in the acts of viewing and being viewed as participants in the constructed and surveilled environment. For the artist, these gestures serve as metaphors for aggression, control, and self-preservation, as well as comfort, safety, and order&mdash;all omnipresent concerns of contemporary urban life.</p> <p class="p1">Emerging from a collaborative background in theater and filmmaking, Cetera works in video, sculpture, and performance to produce temporal installations that examine the space between object and body, public and private, virtual and real. Utilizing techniques culled from the moving image, stage design, and puppetry, her work investigates constructed identities, the mediation of contemporary technology, the alienation of the human body, and the aura of fetishized objects.</p> <p class="p1"><strong>Lea Cetera </strong>has performed and exhibited work in the United States and abroad at venues including The Jewish Museum, New York (2014); Disjecta Contemporary Art Center, Portland (2014); SculptureCenter, Long Island City (2013); High Desert Test Sites, Joshua Tree (2012); New Wight Biennial, Los Angeles (2012); Anthology Film Archives, New York (2010); and PortugalArte Biennial, Lisbon (2010). Cetera holds an MFA from Columbia University (2012) and a BFA from the Cooper Union School of Art (2005). She lives and works in New York City.</p> <p class="p1"><strong>Press contact: </strong>Aimee Chan-Lindquist,</p> Wed, 14 Jan 2015 21:54:29 +0000 Michael Linares - Art in General - January 22nd - February 21st <p>Art in General is pleased to present&nbsp;<em>A Random History of The Stick</em>, a solo exhibition with Michael Linares in the Mus&eacute;e Minuscule.</p> <p>As early as the Pliocene epoch, the stick as a specific, three-dimensional form has played a vital role in the technological, social, political, aesthetic, and religious development of humanity and some animal species. The chimpanzee&rsquo;s tool that catches termites, the facial ornamentation of the Yanomami people, the Shulgi of Ur&rsquo;s weaponry&mdash;as well as the toothpick, knitting needle, and vaulting-pole&mdash;all represent a minute slice of the myriad transfigurations that this form has undergone throughout history.</p> <p>For Linares, the stick serves as concrete evidence of the neurological evolution of some animals and indicates their ability to create metaphor. It is an ancient example of the moment when an object, such as a branch or bone, ceases to be what it inherently is and becomes an instrument with transformed meaning and purpose. As such, Linares considers the stick to be an archetype of a &ldquo;thing;&rdquo; a vessel devoid of connotation that anticipates signification through utility. Treating the stick as a readymade, Linares divests it of any original use value or context, presenting the form as dependent on conceptual shifts with radically altered implications and functionality.</p> <p><em>A Random History of The Stick</em>&nbsp;is the formal outcome of Linares&rsquo; investigation into the history and quotidian uses of stick-like objects&mdash;defined as long, rigid shapes, the length of which are dependent on function and proportion in relation to the body. As a simple machine, a stick can transform energy, increasing tangible force as with a baseball bat, or symbolic power as with the baton, wand, or sceptre. His study emulates the exploratory and archaeological method of prospection&mdash;involving image, text, video and data gathering&mdash;with the aim to generate an audiovisual archive that represents a collective knowledge base. In this project, Linares exploits the gaps that exist in science and history as opportunities to create speculative associations and narrative. Comprised of YouTube clips edited into a layered, moving-image collage, this video installation of the same title is part of a larger body of works in progress.</p> <p>Through a wide range of styles and mediums including installation, assemblage, sculpture and painting, Michael Linares&rsquo; artistic practice consistently raises the possibility of new relationships between objects and signification. Mixing the foreign with the familiar and the marvelous with the mundane, Linares disorganizes what is perceived as common sense to create unexpected combinations that opportune new aesthetic and intellectual understanding. Central to his practice is the exploration of new connections between audience and art in a way that asserts the spectator&rsquo;s role in the production of meaning. Rather than an aesthetic experience in and of itself, the artist sees his work as a vehicle for possible aesthetic experiences that remain open, ever changing, and ready to be redefined.</p> <p><strong>Michael Linares</strong>&nbsp;was born in Bayam&oacute;n, Puerto Rico and is currently based in San Juan, PR. He holds a Bachelor of Fine Art from the&nbsp;EAP&nbsp;School of Fine Arts of San Juan, where he currently teaches, and is a MA candidate in Archeology at the Centro de Estudios Avanzados de Puerto Rico y El Caribe. In 2010, Linares completed the Beta-Local residency program (Independent Studies) in San Juan. Notable solo exhibitions include&nbsp;<em>Outside In / Out</em>,MACO&nbsp;Art Fair, Mexico City (2014);&nbsp;<em>Unpainting</em>, Walter Otero Gallery, San Juan (2013);&nbsp;<em>Was it a rat I saw?</em>, Ltd Los Angeles, Los Angeles (2013);&nbsp;<em>As&iacute; las cosas (This being so)</em>, Bass Museum of Art, Miami (2012);&nbsp;<em>Useless</em>,&nbsp;PINTA&nbsp;Art Fair, London (2010); and&nbsp;<em>Found &amp; Lost</em>, Museum of Contemporary Art of Puerto Rico (2009).&nbsp;</p> <p class="p1"><strong>Press contact: </strong>Aimee Chan-Lindquist,</p> Wed, 14 Jan 2015 21:53:58 +0000 - Artists Space : Books & Talks - December 11th, 2014 - February 8th <p style="text-align: justify;">The exhibition <em>Welcome To My World</em> presents artworks and a book produced with students in Artists Space’'s education program, Expanded Art Ideas, based at two New York City schools: PS140 Nathan Straus on the Lower East Side and MS324 Patria Mirabal in Washington Heights. Featuring drawing, painting, sculpture, photography, video and poetry produced in the last four years, <em>Welcome to My World</em> also includes archived documentation of key arts projects initiated since 1998. These works and projects are examples of how the program is ingrained in the social context of the schools, and in the lives of the students.<br /><br />Expanded Art Ideas (EAI) was founded in 1996 by artist Chrysanne Stathacos and Ellen Salpeter, Director of Thread Waxing Space, and under Stathacos's’ guidance it became a program of Artists Space in 2001. EAI is rooted in the principle of placing working artists in New York City public schools, to encourage students at all levels to develop an artistic voice. The program provides access to art classes for 6th, 7th and 8th grade students and also augments teaching in the language arts, through residencies with established poets.</p> <p style="text-align: justify;">Expanded Art Ideas affirms the important role that the arts play in educational contexts and particularly in middle schools, where students are faced with formative decisions about their future studies. More broadly, the projects and classes led by artists provide the students with insight into how visual and textual expression can be used to articulate their personal circumstances, and to question the world around them. In the light of severe cuts to funding for arts education in New York City over the past decade, and the subsequent disappearance of arts classes in many public schools, programs such as EAI often provide the sole access for students to guidance and discussion with artists and art educators. At PS140, the program also helps students apply for admission to specialized high schools of art, design, and fashion in New York City. <br /><br />The work presented in <em>Welcome To My World</em> provides a window into the students'’ approaches to producing art, from creative exercises produced for their high school applications, to the use of photography and video to document their urban environments, and the collaborative production of paintings representing the experience of migration from one country to another. The exhibition also includes projects made in relation to recent exhibitions at Artists Space, from painted books inspired by the work of Zilia S&aacute;nchez, to a series of documentary videos made with Marco Vera from Mexicali Rose. A further section of the exhibition looks back to projects undertaken at the schools in the Lower East Side and Washington Heights in the period after 9/11, including video and poems from <em>The Talisman Project</em>, and texts and photographs from <em>East-West Dialogues</em>, a 2000-2003 exchange program conducted with students from the Tibetan Children'’s Village School in Dharamsala. <br /><br />The teaching artists currently working at PS140 and MS324 are Joy Episalla, Nancy Friedemann, Susan Hamburger, Mary Simpson, Sara Jane Stoner, Kate Temple and Marco Vera. <br /><br />Former teaching artists include Annie Bien, A Constructed World, Stefania Heim, Lauren Lesko and Miriam Schaer, with project assistance from Ed Burke and Sophie Green.</p> Fri, 12 Dec 2014 17:22:17 +0000 Laura Poitras - Artists Space: Exhibitions - December 14th, 2014 - February 15th <div class="element" style="top: 871px; left: 436px; width: 510px;" data-logotype="standard"> <p class="font-medium" style="text-align: justify;">Coinciding with the worldwide release of Laura Poitras&rsquo; widely anticipated and critically acclaimed documentary <em>CITIZENFOUR</em>, Artists Space presents an exhibition dedicated to the filmmaker&rsquo;s <em>9/11 Trilogy</em>, featuring her previous features <em>My Country, My Country</em>, and <em>The Oath</em> as well as three short films <em>The Program</em>, <em>Death of a Prisoner</em>, and <em>PRISM: Snowden Interview</em>. Together with <em>CITIZENFOUR</em>, these films rigorously document and address the expansion of the security state in the aftermath of 9/11.<br /><br />The <em>9/11 Trilogy</em> considers, both obliquely and directly, a period in which access to information, and agency in relation to that information, has become contested ground among governments, citizens, security agencies, and the media. The films collectively raise vital questions around the role of critical visual culture at a historical juncture at which the construction of a social imaginary of &ldquo;freedom&rdquo; is positioned at odds with transparency and accountability.<br /><br /><em>My Country, My Country</em> (2006), <em>The Oath</em> (2010) and <em>CITIZENFOUR</em> all revolve around individuals whose lives, in differing ways, have become intrinsically tied to the &ldquo;war on terror&rdquo; and U.S. military operations overseas. Each film stems from an encounter between Poitras and one of these people: Dr. Riyadh al-Adhadh, a Sunni electoral candidate in the 2005 Iraqi elections in Baghdad; Abu Jandal, a taxi-driver in Sana&rsquo;a, Yemen, who had previously served as bodyguard to Osama bin Laden; and Edward Snowden, a National Security Agency computing systems contractor turned whistleblower. The writer Janet Malcolm has posited that: &ldquo;The moral ambiguity of journalism lies not in its texts but in the relationships out of which they arise.&rdquo; Poitras&rsquo; films highlight the complexity at the heart of practices of journalism and reportage, in the light of contemporary ideological struggles between state and citizen. They also crucially trace unfolding relations between U.S. political and military interventions, and individual positions of resistance, as knotted sites of belief and oppression.</p> </div> <div class="element" style="top: 1542px; left: 464px; width: 510px;" data-logotype="standard"> <p class="font-medium" style="text-align: justify;"><em>My Country, My Country</em>, portrays the tragedy and absurdity of the occupation of Iraq through the experience of Riyadh al-Adhadh, a medical doctor and Sunni electoral candidate in Baghdad. Poitras met Dr. Riyadh at Abu-Ghraib prison where he was recording prisoners&rsquo; complaints. Subsequently she began visiting his clinic, meeting his patients and ultimately living with his family as she followed their daily lives. Contrasted with footage of U.S. military, UN officials and private security companies in their orchestration of the country&rsquo;s 2005 elections, the film frames a dizzying and disastrous confluence of local and global interests, within which Dr. Riyadh is an impassioned yet helpless figure. <br /><br /><em>The Oath</em> originated from visits by Poitras to Sana&rsquo;a, Yemen where she researched into the lives of Guantanamo prisoners including Salim Hamdan, better known as the driver of Osama bin Laden. Hamdan was the subject of litigation in the U.S. Supreme Court that resulted in the disbanding of the Pentagon&rsquo;s system of military tribunals, which were found to be unconstitutional. In the course of her research Poitras met Hamdan&rsquo;s brother-in-law, a taxi driver going by the nom de guerre of Abu Jandal. Abu Jandal had also served bin Laden as a bodyguard, and becomes the ostensible subject of <em>The Oath</em>, paralleling the &ldquo;ghost&rdquo; subject of Hamdan. Poitras&rsquo; documenting of Abu Jandal&rsquo;s contradictory statements and motivations, and his personal conflict over his jihadi oath to bin Laden and the imprisonment of his brother-in-law, serves as an unsparing, yet fittingly irreconcilable articulation of the extrajudicial actions of the U.S. state, and its human and ideological consequences.<br /><br />In comparison, <em>CITIZENFOUR</em>, now in theatrical release, hinges on a moment of reflexivity that suggests the manner in which Poitras&rsquo; films have inverted typical journalistic relations. In 2013, Edward Snowden, a systems analyst contracted to work for the U.S. National Security Agency, contacted Poitras through encrypted channels. Snowden had identified Poitras as a filmmaker whose work directly addressed the apparatus of the security state, and saw her as a discreet contact through whom it would be possible to make public numerous secrets he was privy to. Poitras' first video interview with Snowden, in a hotel room in Hong Kong, provided a vehicle through which the NSA&rsquo;s PRISM program became known to the world. At Artists Space, three short films are exhibited that serve as key documents in Poitras&rsquo; process of investigation and reporting leading towards <em>CITIZENFOUR: The Program</em> (2012), <em>Death of a Prisoner</em> (2013) and <em>PRISM: Snowden Interview</em> (2013).</p> <p class="font-medium" style="text-align: justify;">This exhibition is supported by the <em>Laura Poitras</em> exhibition supporters circle: Thomas Dozol, Robert Gober &amp; Donald Moffett, Michael Stipe, Thea Westreich Wagner &amp; Ethan Wagner, Anonymous</p> <p class="font-medium" style="text-align: justify;">Screening Hours<br /><em>My Country, My Country</em>, and <em>The Oath</em><br />noon, 2pm and 4pm daily</p> </div> Wed, 03 Dec 2014 16:28:41 +0000