ArtSlant - Current exhibits en-us 40 Josh Thorpe - 3A Gallery - May 31st, 2013 - June 28th, 2013 <p><span style="font-family: helvetica; font-size: small;">Poems about wayward dogs, loose figurations in low light, a large wall painting about a Roman toga. Maybe some ukulele or electric guitar. Doodles, sketches, funny faces, nocturnes. </span></p> <p><span style="font-family: helvetica; font-size: small;"> </span></p> <p><span style="font-family: helvetica; font-size: small;">Josh Thorpe makes installations, paintings, drawings, music, and texts. He teaches writing at University of Toronto and works at a heritage architecture firm. Recent work includes exhibitions or special projects at Toronto Sculpture Garden, Museum of Contemporary Canadian Art, Plug In ICA, Printed Matter, and David Roberts Art Foundation, UK. Articles and interviews have been published by Canadian Art, Border Crossings, and the Power Plant, and in 2009 Art Metropole published Thorpe's book, <i>Dan Graham Pavilions: A Guide</i>. In 2011, Thorpe was a finalist in the Toronto Friends of the Visual Arts Artist Award and was elected to the Sobey Art Award Ontario Long List. For images and information, please go to <a href="" rel="nofollow" target="_blank"></a>.</span></p> Thu, 16 May 2013 19:44:12 +0000 Gerard Ellis - 532 Gallery Thomas Jaeckel - May 30th, 2013 - July 3rd, 2013 <p>A painter and draftsman by calling and choice, Gerard Ellis establishes an interesting dichotomy between the practice of painting and social critique. His pictorial work is highly expressive and vigorous for those who directly or indirectly participate in the multiple strata of the contexts of which this artist speaks. The violence, corruption and lack of willpower characteristic of our times are central topics of his meticulous pictorial work. There is a studied connection and interdependence between what is his work and what constitutes his life experiences, which translates into a certain underlying politicization of life’s experience. Self-referential and sometimes autobiographical, his dynamic yet intensely personal and authentic compositions serve on dual levels; not only are they effective in presenting the viewer with truncated iconoclastic narratives, but they also possess a strong visual vocabulary of technical styles.<strong></strong></p> <p>Ellis competes in a direct relation to the animal, this time, no longer domestic (an owl, a cybor-dog, among others) with the man and are constant companions to the figures in the paintings. Equipped with a dramatic quality, the plastic movement of each one of the works speaks of speed and stillness, paralysis and aggression, being the diachronic dichotomy of the mental movement of the spectator.</p> <p>Born in Santo Domingo, Dominican Republic in 1976, he graduated from the National School of Fine Arts and the Universidad Autónoma de Santo Domingo. Selected to be part of the “S-Files”, the 6<sup>th</sup> edition of the El Museo del Barrio Biennial in NY, 2011. Has been recognized with three awards of Excellence by The Society of News Design, 2007-2008. In 2007 was invited to be part of the IX edition of the Cuenca International Biennial, Ecuador. His work has been exhibited in group shows in the Nassau County Museum of Art, NY, The IDB Cultural Center and The Mexican Cultural Institute in Washington, D.C. Selected to be part of the National Biennial of Visual Arts and the XX edition of the E. León Jimenes Art Contest (Biennial), where he received the Prize for painting, both in the Dominican Republic. He participated in the “Sarmiento Public Art Project, 2007” in public areas of the city of Santo Domingo.</p> <p>International contemporary art fairs include: VOLTA NY, Scope, Pinta and Arte BA.  His work is in the permanent collection of the Museum of Latin American Art in Long Beach, CA;  Fundación para la Pintura, Canaria, Spain; the Museum of Contemporary Drawing and the Museum of Modern Art in Santo Domingo;  The Dominican Congress and in private collections in New York, London, Miami, Spain, Panamá, Venezuela, Puerto Rico and Santo Domingo.</p> Mon, 24 Jun 2013 21:57:13 +0000 Jay Shinn - 55 5th Avenue Lobby Exhibitions - June 12th, 2013 - August 31st, 2013 <p style="text-align: justify;"><span style="font-size: small;"><b>Time Equities Inc. Art-in-Buildings is pleased to announce the newest exhibition in the lobby of the 55 5<sup>th</sup>Avenue Office Tower, Jay Shin: <i>Doublerama and Adagiorama. </i>Please join us for an opening celebration with the artist<i> </i>on Wednesday, June 12<sup>th</sup> from 5-7pm.</b><span style="text-decoration: underline;"></span><span style="text-decoration: underline;"></span></span></p> <p style="text-align: justify;"><span style="font-size: small;">Jay Shinn’s site specific illuminated wall painting, </span><i style="font-size: small;">Doublerama, </i><span style="font-size: small;">challenges the viewer’s experience of the lobby space by confounding the geometry of the main architectural element, a curved wall. Shinn projects light on to wall painting with theatrical lenses to create the illusion of a three dimensional object floating in space. His experiential works are constructed of relatively simple geometric shapes that are deployed in intricate patterns to create origami-like structures. Also on view is </span><i style="font-size: small;">Adagiorana, </i><span style="font-size: small;">an 8-minute looping animation that references the wall painting. This is the first time one of Shinn’s animations has been shone publically. The TV screen is fronted with a frosted Plexiglas box which distorts the video, blurring the line between video and sculpture. </span></p> <p style="text-align: justify;"><span style="font-size: small;">Jay Shinn lives and works in Dallas and New York. He has a BFA in painting from the Kansas City Art Institute. Shinn’s work has been exhibited widely in the US and Europe. Recent exhibitions include Miejska, Bydgoszcz, Poland; University of Colorado Colorado Springs Galleries of Contemporary Art, Colorado Springs; Marty Walker Gallery, Dallas; Barbara Davis Gallery, Houston; Kunstverein Neukolln, Berlin and Mixed Greens, New York. Shinn has completed residencies at Omi International Arts Center and Skowhegan School of Painting and Sculpture. His work is represented by Marty Walker Gallery, Dallas and Barbara Davis Gallery, Houston.</span></p> <p style="text-align: justify;"><i style="font-size: small;">Jay Shinn: Doublerama and Adagiorama</i><span style="font-size: small;"> is curated by Jennie Lamensdorf and sponsored by the Time Equities Inc. (TEI) Art-in-Buildings. TEI is committed to enriching the experience of our properties through the Art-in-Buildings Program, an innovative approach that brings contemporary art by emerging and mid-career artists to non-traditional exhibition spaces in the interest of promoting artists, expanding the audience for art, and creating a more interesting environment for our building occupants, residents, and their guests.</span></p> <p style="text-align: justify;"><br /><span style="font-size: small;">Founded in 1966, privately-held Time Equities Inc. has been in the real estate investment, development and asset &amp; property management business for more than 40 years. With properties in 26 states, four Canadian provinces and Germany, the TEI portfolio consists of approximately 23.4 million square feet of residential, industrial, office and retail property.</span></p> Wed, 12 Jun 2013 06:37:49 +0000 Salman Toor - AICON GALLERY - New York - May 10th, 2013 - June 29th, 2013 <p>Aicon Gallery New York is proud to present The Happy Servant, an exhibition of recent works by Salman Toor. Toor’s paintings are an eclectic mix of the exhausted categories of old and new, where inspiration from Old Master painting techniques meld seamlessly with imagery from South Asian mass-media and popular culture, including graphic paintings from local Lahore cinema billboards and contemporary advertising from Bollywood and fashion magazines. The exhibition features a group of eleven paintings exploring the complex and often-uncomfortable relationships between servants and masters. Within these works, Toor transforms signs of poverty and commercial products into heroic symbols and absurdly idealized motifs through the metaphysical qualities of oil paint.<br /> <br /> With Toor’s masterfully whimsical way with paint, these scenes are much more than the literal amalgamation of their commercial sources. Instead, they stage their own private masquerade, cloaking the fantasies of contemporary subjects with a veneer of museum-worthy Old Master virtuosity. The works, however, are not simply an exercise in technical skill, but rather the result of a complicated personal relationship with Western art history, by which the artist has re-interpreted his own place in his native social fabric. For Toor, aspiring towards the vivid scenes and technical perfection of the Renaissance and Baroque masters remains both a feasible and contemporary impulse, capable of yielding unique interpretations of the entrenched tenets of South Asian culture and advertising. In this lens, Toor’s work is set apart in an age of exhausted irony and innumerable iterations of commercial imagery.<br /> <br /> In Girl with Driver, a salmon-colored Honda Civic becomes as luxurious as a silk cravat in an Ingres painting. The artist transforms this common sight in urban Pakistan – a woman in the backseat with a male driver up front – from its quotidian origins into an allegory of the humdrum of the present and the venerable painting of the past, simultaneously beautiful and grotesque. However, Toor’s realism is selective, which can be seen in the fantastical luminosity of the colors and stylized anatomy of the figures, while visual clichés - the woman smelling a flower from the car side – provide a running commentary of the absurd social subtexts of such a scene. The composition and typecast figures in this and other works are culled from the ubiquitous advertisements for jewelry, beauty products (‘Fairness Creams’), new shopping malls and cell phone providers dominating Pakistan’s urban media landscape.<br /> <br /> Both The Rickshaw Driver's Dream and Driver and Maid depict fantastic scenes of personal and collective wish-fulfilment through an impossible combination of visual references and cultural stereotypes, including the famous group dances of Bollywood musicals and the painted covers for Mills and Boon romance novels from the 1970s. The Rickshaw Driver borrows its compostion from Titian's Three Ages of Man (circa 16th century Venice), which itself was most likely influenced by Giorgioni’s themes and motifs of landscapes and nude figures. In Toor’s work, this familiar scene of idyllic romance is pushed over the edge into Bollywood pathos by the presence of ever-ready backup dancers, who have spontaneously broken into their routine in support of the “leading couple.” In this cinematic trope, the class differences that typically dominate South Asian society are instantaneously dissolved and cooks, gardeners, landlords and drivers all rejoice in choreographed triumph for a singular imaginary couple. As a result, it highlights the comedically absurd nature of mass-marketed culture and advertising in modern-day India and Pakistan that often serves to mask a much darker social reality.<br /> <br /> Similarly, poverty oscillates between caricature and reverence in The Happy Servant, while The Happy Sweeper brushes away in a sentimental Disneyland of daisies and four-leaf clovers. In both works, one senses the inherent isolation of the central figure in an otherwise carelessly jubilant gathering or classically-inspired milieu. Further emphasizing this skewed reality in both works are the subjects’ frozen smiles, which exude a foreboding quality slithering under a skin of frivolity. <br /> <br /> In all his works, Toor deftly presents a subtle melding of the consumeristic and social fantasies perpetuated by the mass-media of urban India and Pakistan, along with a Renaissace-era spirit of light, technique and idealis. This collaboration presents a unique vision of the complexities and exchanges between South Asian popular culture and the art historical traditions of Western idealization. Salman Toor (b. 1983) lives and works between New York and Karachi, Pakistan. This is his first solo exhibition in New York.</p> Tue, 25 Jun 2013 01:47:30 +0000 Group Show - AICON GALLERY - New York - May 10th, 2013 - June 22nd, 2013 <p>The exhibition looks back though the history of post-independence Indian and Pakistani photography, from its early modernist interpretations through today, presenting a vast panoramic view of South Asia's complex past, present and future.</p> Sun, 05 May 2013 03:42:27 +0000 Regina Silveira - Alexander Gray Associates - June 5th, 2013 - July 26th, 2013 <p>Regina Silveira (b.1939) was born in Porto Alegre, Brazil and is currently based in São Paulo. In the 1950s she began her artistic training under the tutelage of expressionist Brazilian painter Iberê Camargo, studying lithography and woodcut, as well as painting. Renowned for her parodic explorations of space through geometric constructs, Silveiraʼs work is celebrated for both its conceptual rigor and formal impact.<br /> <br /> During the 1970s she experimented with printmaking and video, engaging with the dynamic developments of the Brazilian art world at the time. For more than thirty years, Silveira has been investigating the ways in which reality is represented, and the ways the meaning of visual imagery is deconstructed and understood. She has used various methods of perspectival projection, including skiagraphia (the study of shadows). Silveira is particularly interested in the paradoxical relationship between presence and absence, a notion that she has investigated by incorporating tracks and foot imprints into her visual vocabulary. For Silveira, printmaking has always been a field open to graphic experimentation, much more expansive and flexible than painting. Her practice, informed by printing techniques, has taken the form of videos, sculptures, and spacial interventions of architectural proportions.

Silveira’s artwork was the subject of a retrospective at the Centro Cultural Banco do Brasil; in 2009, the Koge Museum of Art in Public Spaces, Denmark, presented a retrospective of Silveira’s public projects. The artist has exhibited throughout Europe and the Americas, including solo exhibitions at the Museo de Antioquia, Medelin, Colombia (2008); Centro Cultural do Banco Brasil, Brasilia (2007); Pacific Northwest College of Art, Portland, OR (2007); Museo de Arte del Banco de la Republica, Bogota, Colombia (2007); Museu de Arte da Pampulha, Belo Horizonte, Brazil (2007); Museo Nacional Centro de Arte Reina Sofia, Madrid, Spain (2005); Art Museum of the Americas, Washington, DC (2000); Museo de Arte Moderno de Buenos Aires, Argentina (1998); Museum of Contemporary Art, San Diego, CA (1996); Bass Museum, Miami, FL (1992); Queens Museum of Art, New York (1992). Her work is represented in public and private collections internationally.</p> Tue, 28 May 2013 00:25:22 +0000 Bill Traylor - American Folk Art Museum - June 11th, 2013 - September 22nd, 2013 <p style="text-align: justify;">This exhibition will include approximately 63 drawings and paintings by self-taught Alabama artist Bill Traylor. Traylor began making art near the end of his life, and his works are notable for their flat, simply defined shapes and vibrant compositions in which memories and observations relating to African American life are merged. Traylor is recognized as one of the finest American artists of the 20th century.</p> <p style="text-align: justify;">&ldquo;Bill Traylor: Drawings from the Collections of the High Museum of Art and the Montgomery Museum of Fine Arts&rdquo; is co-organized by the High Museum of Art, Atlanta, and the Montgomery Museum of Fine Arts, Montgomery. The exhibition is supported in part by an award from the National Endowment for the Arts.<br /> <br /> The presentation at the American Folk Art Museum is sponsored in part by Joyce Berger Cowin, public funds from the New York City Department of Cultural Affairs in partnership with the City Council, the Ford Foundation, the Robert Lehman Foundation, the David Davies and Jack Weeden Fund for Exhibitions, and Laura and Richard Parsons. Lectures and symposia are supported in part by an award from the National Endowment for the Arts.</p> Sat, 07 Sep 2013 14:33:09 +0000 Bill Traylor - American Folk Art Museum - June 11th, 2013 - September 22nd, 2013 <p>Bill Traylor (c. 1854–1949) forged a personal iconography of recurring characters and subjects. They exhibit the artist’s photographic memory by recalling images, sounds, or movements with clear precision. In their protean nature, these subconscious fragments return in multiple drawings, forming interrelated sequences in a single feature that offer significant parallels with cinematic production and its images in motion. Late in his life, the street scene in Montgomery itself contributed a kind of cinema verité, adding a fertile complexity to themes that beg to be thought of together, stakeholders in a continuous, coherent scene. In this regard no detail is superficial but is always connected to an ongoing dynamic cycle.<br /> <br /> “Traylor in Motion: Wonders from New York Collections” delves into this aspect of Traylor’s vision by considering specific groups of figures and gestures and their implications: the development of action through staged poses—subjects mostly looking right, with expressive pointed fingers; the tension created by offset spatial compositions; the introduction of vibrant colors; startling metamorphoses; and the sinuous movement of bodies from contortion to the astonishing balletic extension of a limb. High-kicking legs evoke the exuberance of such dances of the era as the gymnastic Lindy Hop. But such posturing may also be a sly reference to the satirical strut of the “cakewalk,” a subversive plantation dance that mocked the formal grand marches and minuets of the slaveholders through exaggerated movements. Often the women wore long dresses with hoop skirts and the men sported high hats, split-tail coats, and walking sticks.<br /> <br /> These moving images become lines of force: jumps and ellipses between cause and effect, stirring up the surfaces. Yet the ritualistic cinema created by Traylor is not a strict narrative, social commentary, or reaction to historical fact. Mysterious and intimate, it carries a reinvented perception of reality laden with fantasies, myths, and symbols.</p> Sun, 09 Jun 2013 23:25:09 +0000 - American Folk Art Museum - June 11th, 2013 - September 22nd, 2013 <p>The exhibition is sponsored in part by Joyce Berger Cowin, public funds from the New York City Department of Cultural Affairs in partnership with the City Council, the Ford Foundation, the Robert Lehman Foundation, the David Davies and Jack Weeden Fund for Exhibitions, and Laura and Richard Parsons. Lectures and symposia are supported in part by an award from the National Endowment for the Arts.</p> Sun, 09 Jun 2013 23:29:07 +0000 Xul Solar, Jorge Luis Borges - Americas Society Gallery - April 18th, 2013 - July 20th, 2013 <p><em>Xul Solar and Jorge Luis Borges: The Art of Friendship </em>is an exhibition that explores friendship as a cosmopolitan agency, which informed Argentine art and culture through the intellectual exchange between the mystic artist Xul Solar (1887-1963) and the writer Jorge Luis Borges (1899-1985.) <em>The Art of Friendship</em> focuses on the fraternal dialogue and collaborations between Solar and Borges, the most singular cultural figures in Buenos Aires in the twentieth century who contributed to the philosophical and aesthetic renewal in Argentina in the 1920s by cultivating a form of “fluid nationalism.” The exhibition is curated by Gabriela Rangel, Director of Visual Arts and Chief Curator at Americas Society with the collaboration of poet Lila Zemborain and the assistance of Christina De León and Anya Pantuyeva. It will be on view from April 18 through July 20, 2013 travelling in the fall to the Phoenix Art Museum. For Gabriela Rangel, “Xul Solar and Jorge Luis Borges were central to the process of invention of a local universal identity, which seems paradoxical, but is rather extraordinary and unique.”</p> <p>The exhibition covers over forty years of friendship between Solar and Borges, who met after their return from Europe in 1924, in the literary and artistic circles of the journal-magazine <em>Martin Fierro</em> and collaborated on different projects until Solar’s death in 1963. In the search of a new Argentine avant-garde identity, Borges and Solar, along with other <em>martinfierristas</em> developed a Neo-Creole identity that fused the tactics of the European modernists with nationalist ideas and the <em>gaucho</em> vernacular culture. Nonetheless, each developed distinct voices within this group: Borges reinventing the slums and unpaved streets of Buenos Aires’ suburbs, and Xul creating new languages Neo-Creole and Pan-Language as well as fantastic landscapes filled with monstrous figures in which he blended mystic and occult references with Pan-American symbolism. As Sylvia Molloy has suggested, Borges and Solar seek difference rather than assimilation acting as born-exiles in an environment of fervent avant-garde debates and nationalisms. Both constituted a visual metaphor that built the core for this new conception of the local cosmopolitan self. During their countless walks around the city, chess games, and while listening to music the two discussed the poetry and art of William Blake, the mysticism of Emanuel Swedenborg, theology of angels, German Idealism, and non-Western religions and languages. Borges and Solar forged a lifetime friendship while discovering and contributing to the identity of Buenos Aires in the process of the invention of their own.</p> <p><em>The Art of Friendship</em> departs from a speculative lineage on friendship construed by thinkers such as Aristotle, Cicero, Michel de Montaigne, Friedrich Nietzsche, Ralph Waldo Emerson, Richard Rorty, Hans-Georg Gadamer, and Jacques Derrida who have examined fraternal exchange as an instance of civic agency. Friendship is also considered as a space of social and political interaction, which enables the tracing of genealogical maps that identify vast networks of solidarity and communities.</p> <p>The show gathers an important number of paintings, first editions, and manuscripts—some of which have never left Argentina—as a means to explore the intellectual nature of the relationship between Solar and Borges and the definition of friendship at large as a private agency with public effects.   <em>Xul Solar and Jorge Luis Borges: The Art of Friendship</em> is organized by Americas Society with the collaboration of Museo Xul Solar in Buenos Aires. It is accompanied by a fully illustrated catalogue with contributions by Patricia Artundo, Sergio Baur, Maria Kodama, Gabriela Rangel and Sylvia Molloy, in addition to a plaquette with original poems by Monica de La Torre, Cecilia Vicuña, and Lila Zemborain inspired by Solar’s astral voyages or <em>San Signos</em>.</p> Fri, 05 Jul 2013 01:43:13 +0000 Wolf Kahn - Ameringer | McEnery | Yohe - June 6th, 2013 - July 26th, 2013 <p>AMERINGER | McENERY | YOHE is pleased to announce an exhibition of recent paintings by Wolf Kahn. The exhibition will open 6 June 2013. A reception for the artist will take place 6 June, between 6:00 and 8:00 PM. The public is welcome.</p> <p>The exhibition will be accompanied by a fully illustrated catalogue with an essay by Nicholas Delbanco.</p> Sun, 21 Jul 2013 00:13:34 +0000 Lynda Benglis, Sean Bluechel, Jean Dubuffet, Mika Rottenberg, Axel Salto - Andrea Rosen Gallery 2 - May 4th, 2013 - June 22nd, 2013 <p>For Mika Rottenberg's current exhibition at Magasin 3, she produced an impressive and arresting group of sculptures — cast resin and hand-painted textures that seem to have been ripped from the walls of one of her film sets. These sculptures reference an iconic tactility that is key to all of her films and installations. Since Gallery 2's program is committed to encouraging alternative modes for understanding new and historical material through filters that may alter our perception, Andrea Rosen Gallery is delighted to announce a complex new group exhibition that juxtaposes Rottenberg's sculptures with the evocative surfaces of works by Lynda Benglis, Sean Bluechel, Jean Dubuffet, and mid-century ceramicist Axel Salto. <br /> <br /> An important painting from Dubuffet's Texturologie series avoids all figuration, but is not abstract. Literally a vast view of the ground seen from above, the gestural and gritty painting was intended to evoke a continuous, infinite space beyond the fragmented sphere of human action and intervention. Sean Bluechel prefers this dysfunctional arena, and his "Drunk Photos" engage multiple iconographies of sexuality, race and gender with a rough, physical sensibility. Axel Salto experimented with wild, organic forms and colors that were a radical departure from the prevailing, cool abstract styles of modern ceramics. Although his vessels are undoubtedly decorative, Salto was a trained painter fixated on formal problems – how does the thickness and sheen of a glaze change as it slides over bumps and into grooves? The dense, multi-colored accretions on Lynda Benglis's wax paintings are sensuous and visceral, but they are also ground-breaking, transitional pieces that demonstrate the artist's struggle to redefine painting and the relationship between the artwork and viewer in space. <br /> <br /> All of these works give form to our sensory perceptions. As Lynda Benglis said, "I am involved with bodily response so that the viewer has the feeling of being one with the material and that action, both visually and muscularly…in other words, you draw out the complete body through the work." </p> Tue, 30 Apr 2013 22:00:51 +0000 Christian Holstad - Andrew Kreps Gallery @ 537 W. 22nd - May 11th, 2013 - June 22nd, 2013 <p>The Andrew Kreps gallery is pleased to present <em>The Book of Hours, </em>Christian Holstad’s first solo exhibition with the gallery, which will feature sculpture, installation and drawings in an immersive installation. Enhanced by sound works by Martin Maugeais the show takes as its point of departure the religious devotionals of the same name. </p> <p>Books of Hours are often characterized as the “bestseller” of the Middle Ages. The most famous of these religious books were richly decorated with gilding and inks made with pigments of ground precious stones. These books were commissioned by the upper class and were meant to occupy ones time absorbing the reader in the rich and layered visual illustrations of the texts of Christianity. They were named for the time spent pouring through them perhaps in the same way a reader might pour over a morning newspaper. Both documents act as a snapshot of the time in which they were created but differ in their purpose. The Book of Hours promotes the rejection and/or suppression of natural desires as a path of religious enlightenment. In contrast, it could be seen that a contemporary newspaper is filled with stories that are the result of this same rejection of nature that have ultimately lead to spiritual erasure and ecological degradation.</p> <p>Mirroring street scenes around him through inexplicably crafted soft sculptures Christian depicts this disconnect from nature in a contemporary capitalist society. Discarded diapers both infant and adult lay discarded in a corner with an abandoned stroller - a tree stump emerging from a cobblestoned patch of dirt is hovered over by it’s own amputated trunk grown through an electrical wire and hordes of bees crashing out of the sky in a death fall present the perversity of our contemporary reality with harrowing beauty.</p> <p>It is this beauty – and the process of the creation of the hand-made environments and their respective monsters that give some accidental hope to these scenes with piles of feces topped with shrimp lovingly sewn of millinery thread and sequins. Sounds of harpsichord and organ emanate from within - the chords of which are derived from the accidental aural events that Martin Maugeais recorded in his daily early morning attempts at a perfect tone giving the scene a Baroque-like backdrop and bringing together the layers of the contemporary Book of Hours.</p> <p>Christian Holstad has had solo shows at Kunsthalle Zurich, Museum of Contemporary Art Miami, PS1, New York, and has been included in group shows at San Francisco Museum of Modern Art, Indianapolis Museum of Art, Indianapolis, The Power Plant, Toronto, Kunsthalle Düsseldorf, MoMA, New York, The Whitney Museum of American Art and the New Museum, New York.</p> <p>Martin Maugeais lives and works in Paris and New York. He studied computer programming, musical composition and visual music at the University of Paris 8 (Saint-Denis) and completed a Masters degree in in 2012. His practice includes music composition (both instrumental and digital), sound installations, and performing with bands Femme Fractale and The General Society.</p> <p><span style="color: #333333; font-family: Verdana,Arial,Helvetica,sans-serif; font-size: xx-small;" color="#333333" face="Verdana, Arial, Helvetica, sans-serif" size="1"><span style="font-size: xx-small;" size="1"></span></span></p> Sun, 19 May 2013 23:27:05 +0000 Hito Steyerl - Andrew Kreps Gallery @ 537 W. 22nd - May 11th, 2013 - June 22nd, 2013 <p>Andrew Kreps Gallery is pleased to present Hito Steyerl’s first exhibition with the gallery, which will feature the singular film work <em>In Free Fall, 2010.  </em>Incorporating a trio of works - <em>After the Crash</em>, <em>Before the Crash</em> and <em>Crash</em> – <em>In Free Fall</em> employs the setting and characters of an airplane junkyard in the Californian desert to tell the story of the current economic climate.</p> <p>The space of the junkyard allows various ‘crash’ narratives to unfold, with the stories of actual crashes and the remnants and afterlife of these machines becoming metaphors for economic decline.  The works are an investigation of planes as they are parked during the economic downturn, stored and recycled, revealing unexpected connections between economy, violence and spectacle, finding perfect example in the form of the Boeing 4X-JYI, an aircraft first acquired by film director Howard Hughes for TWA, which was subsequently flown by the Israeli air force before finding its way to the Californian desert to be blown up for the Hollywood blockbuster <em>Speed</em>. Through intertwined narratives of people, planes and places Steyerl reveals cycles of capitalism incorporating and adapting to the changing status of the commodity, but also points at a horizon beyond this endless repetition.</p> <p>Hito Steyerl is among the keenest observers of our thoroughly globalized, digitized condition. Her practice describes with uncommon precision the fluidity and mutability of images—how they are produced, interpreted, translated, packaged, transported, and consumed by a multitude of users. Most often, Steyerl’s art takes the form of video essays that comprise exhaustive research, montage, composite imagery, first-person voiceovers, and interviews. While her subjects vary widely, her work is consistently based on the premise that we are always implicated, consciously and unconsciously, in the stories that we tell. Hers is a documentary form that is emphatically transparent about its subjectivity and its uncertainty.</p> <p>Hito Steyerl, <em>In Free Fall</em>, 2010, installation view at Chisenhale Gallery. Co-commissioned by Picture This, Bristol, Collective, Edinburgh and Chisenhale Gallery, London. Supported by Arts Council England and Creative Scotland. </p> <p>Hito Steyerl (b. 1966) is based in Berlin. She has had solo exhibitions at the Art Institute of Chicago, E-flux in New York,  Picture This, Bristol; Collective, Edinburgh; Chisenhale Gallery, London, Villa Stuck, Munich; (all 2010); Neuer Berliner Kunstverein (2009); and Moderna Museet, Stockholm (2008). Group exhibitions include the upcoming Venice Bienale, Taipei Biennial; 1st Ural Biennial; Gwangju Biennial; Antiphotojournalism, La Virreina, Barcelona; Horizons, BAK, Utrecht (all 2010); <em>Dispersion</em>, ICA, London; U-Turn Kvadriennale for Samtidskunst, Copenhagen (both 2008); documenta 12, Kassel (2007) and Manifesta 5, San Sebastian (2004).</p> <p><span style="color: #333333; font-family: Verdana,Arial,Helvetica,sans-serif; font-size: xx-small;" color="#333333" face="Verdana, Arial, Helvetica, sans-serif" size="1"><span style="font-size: xx-small;" size="1"></span></span></p> Mon, 17 Jun 2013 22:23:04 +0000 Shio Kusaka - Anton Kern Gallery - May 23rd, 2013 - June 22nd, 2013 Sun, 23 Jun 2013 18:53:57 +0000 Christian Boltanski, Jacqueline Hoang Nguyen, Yoshua Okón, Stuart Ringholt, Althea Thauberger - Apexart - May 23rd, 2013 - July 27th, 2013 <p>An Unsolicited Proposal Program winning exhibition.</p> <p>Submitted Proposal:<br /><br />Artist Jacqueline Hoang Nguyen tells the story of an unexplained laughter epidemic that began in the town of Kashasha in Tanganyika in central Africa in January 1962, spanning six months, and contaminating and incapacitating hundreds. The epidemic began with in a classroom, possibly the result of a joke, and quickly spiraled out of control – a true social contagion. Its darker underbelly, however, lies in the reality that 1962 marked Tanganyika's independence and citizens were facing increased pressure. It was, in fact, an outbreak of mass hysteria – a Mass Psychogenic Illness. <br /><br /> In his 1953 lecture "Un-knowing: Laughter and Tears," Georges Bataille points to laughter as beyond the extreme limit of knowledge, the confusion, intoxication and uncertainty of laughter, and its close relation to trauma: <br /><br /> "There is something intoxicating in tears, as in laughter. One would, I think, have no difficulty in showing that tears can be considered as related to laughter, to the invasion of the unknown, to the elimination of a part of this world which we consider as the world known in all the parts generally seen as a whole."1 <br /><br /> Because it is unknowable and ambiguous, there is power in laughter. The motivation for this exhibition is to pursue research into laughter as a destabilizing force, emancipated from the joke and entering the realm of power relationships, reactions to political landscapes and human emotion. 2012 is the fiftieth anniversary of the 1962 epidemic, which began from the giggling of three schoolgirls but which had much deeper roots. This epidemic, which highlights the cyclical and paradoxical nature of laughter, was at its core an involuntary response to a radically changed reality, not unlike the one we are currently experiencing. Unexpected modes of expression come spilling in out in times of distress or exhaustion. <br /><br /> Nguyen's installation For An Epidemic Resistance (2009) anchors the exhibition. The artist takes the 1962 event as a conceptual point of departure. Organized as a grid of hanging speakers, the installation provides a spatial approximation of the classroom in which the epidemic broke out: laughter spreads between speakers as one walks through the installation. Sam Taylor-Wood's eight-minute video Hysteria (1997) provides a close reading of emotional confusion. The video frames a woman's face, and we cannot discern whether she is laughing or crying. Shahryar Nashat's Modern Body Comedy (2006) is an ambiguous power game. In this seductive and unsettling film, two men enact an enigmatic narrative upon on stage set. There is a frightening, exhilarating discord between communication and intent on the part of the actors, such that one loses a sense of reality as the story escalates. The film culminates in a troubling denouement. Althea Thauberger's Anatomie Artistique (2011) speaks to past and present readings of women's bodies. Her photograph transposes a woman in a pose associated with hysteria in nineteenth-century medicine, with a similarly posed yogi. It is a beautiful, sad and clever formal exploration of the interpretation and confusion of form. <br /><br /> 1. Georges Bataille, "Un-knowing: Laughter and Tears," reprinted in October 36, Spring 1986, 98.</p> Mon, 15 Jul 2013 14:07:20 +0000