Manus Groenen’s show Cryptographics: A Tribute to the Voynich Manuscript was selected as the winner of ArtSlant’s Curator’s Open, where we asked readers to use our massive database of art to design an exhibition. Now showing at EXPO CHICAGO Art Fair, Groenen’s Cryptographics brings together twelve unique artworks exploring different forms of marking, both linguistic and pictorial. Reflective of the mysterious text his show honors, Groenen’s Cryptographics features works touching on the cosmological, the obscured, and... [more]
Over the weekend of September 19 to 21, 2014, the Miami Downtown Development Authority, in collaboration with various artists, cultural organizations and institutions, presents a three-day art filled event. Various venues including art galleries, theaters, museums restaurants, parks, and cultural centers will host free film screenings, tours, projects, parties, and exhibitions, connecting residents of the city through the arts.
In recent years, Miami’s public spaces have grown into a cultural land... [more]
Just on the basis of massiveness, EXPO CHICAGO’s top-tier art fair on Navy Pier could be expected to have pervasive and rippling effects through the art system of Chicago, and ripple it does. Museums line up stardusted blockbusters to coincide with the fair, galleries arrange collector-centric city tours, and the city’s Cultural Affairs department antes up sponsorship for a gallery crawl shuttle. For the second year running, one of the EXPO ripples will be EDITION Chicago, a kind of mini... [more]
If any image could be counted as a badge of honor amongst photographer artists, it would be the navel gaze of photographing one's own camera. Like countless others before him, David Benjamin Sherry has also photographed the tool of his trade in all its glory. Among the twenty-nine photographs on view in Climate Vortex Sutra at Salon 94, the artist’s traditional large-format camera is shown as a quiet still life upon its tripod—its bellows left extended as if focused precisely on any numbe... [more]
With the opening words “By art is created that great Leviathan,” Thomas Hobbes launches readers into his seminal work of political philosophy, Leviathan, in which he imagines the State as a great aggregation of the masses into a singular societal body. Drawing its title from Hobbes’ treatise, LA-based artist Glenn Kaino’s exhibition at Kavi Gupta Gallery’s Elizabeth Street location indicates an ambition for superstrata-level political commentary. Despite the impossible loftine... [more]
The rent is too damn high—but the art's pretty damn good
Jesi Khadivi on a changing Berlin and which shows to make time for during a packed week of openings and events citywide.
A green banner spans a cream-colored Altbau adjacent to my local organic grocery store in Schöneberg: APARTMENTS FOR SALE. Above the banner, tenants have hung green signs in their windows, enacting a checkerboard of protest that mines the graphic identity of the brokerage firm presumably trying to sell them o... [more]
As Chicago approaches the four day run of its annual art fair, the art world becomes increasingly animated with preparations. This is the moment backstage of an as-yet empty auditorium; red carpets are cleaned one last time as painters touch up their back drops and technicians in black clothes hastily test light and sound sequences. Dancers stretch. Producers sweat, fiddling their mobile devices unconsciously. There is a palpable buzz of anticipation — an energy not yet disseminated into the grea... [more]
Last week the ASS editorial team was in Paris for our AGM, where we got a special tour of the LASCO project at the Palais De Tokyo. A very amiable and informative guide took us down the basement/security exit—normally closed to the public—that for the last two years has housed a new initiative to bring graffiti into the public gallery: two French artists, Lek and Sowat, have been inviting other artists from their scene to paint the walls of this cavernous underground maze.
The proble... [more]
Kristian Jarmuschek takes a shallow breath and almost disappointedly utters, “That is the second time I’m asked about the market today. What is with everyone wanting to talk about the market?” The POSITIONS team and I are seated in the center of one of the gallery rooms of Jarmuschek+Partner on the Potsdamer Strasse discussing the upcoming launch of Berlin's newest art fair incarnation, POSITIONS Berlin. The room is lined with neat bundles of VIP invite cards and press material stacked i... [more]
A green banner spans a cream-colored Altbau adjacent my local organic grocery store in Schöneberg: APARTMENTS FOR SALE. Above the banner, tenants have hung green signs in their windows, enacting a checkerboard of protest that mines the graphic identity of the brokerage firm presumably trying to sell them out.
I stop to read them.
Rented—we have lived here 3 years! Rented—we have lived here 45 years! Rented—we have lived here 78 years! The last sign makes me feel slightly ill, so... [more]
BERLINER LISTE opens this week in a new home at the former postal railway station Postbahnhof am Ostbahnhof. Now in its 11th year, with 112 exhibitors, BERLINER LISTE is the longest running of the trio of fairs opening during the Berlin Art Week. Leading up to the fair Dr. Peter Funken, now in his second year as Curator, took the time to answer some of our questions about Berlin's art scene, his curatorial role, and, of course, what we can look forward to in 2014 edition of BERLINER LISTE.
ArtSlant's resident London critics and lovers Philippa Snow and Thogdin Ripley first met at a William S. Burroughs show. They recently revisited the artist and writer's work in Animals in the Wall at London Newcastle Project Space.
Thogdin Ripley: I'm going to put my cards right here on this table to start with. I've always been a big fan of Burroughs’ writing—he was one of the most inventive writers and at times one of the best, in my opinion—but I've never, never really go... [more]
The Art Gallery of Ontario (AGO) is currently holding an exhibition of video works by American artist, Matthew Barney. The works belong to Drawing Restraint—a long-term, ongoing project Barney started in 1987. Thus far, he has produced nineteen installments in the series, of which three—Drawing Restraint 2 (1988), 6 (1989) and 17 (2010)—are looped on display. The exhibition similarly unfolds in three parts.
The gallery’s visitors may harbor the expectation to imm... [more]
The (m)animal clay sculptures of Alessandro Gallo present humans moving in form, doctrines and in space; whether it is depicted as a bipedal donkey in surrender (Surrender) or several human-animal hybrids in a more obvious state of transit in Metro. Animal heads rest on anthropomorphic bodies and suggest carrying more of the human role through their rendered posture, clothing and setting; the half-rooster, half-man is holding baguettes with a gaze off to the distance, the hybrid hare is sitting... [more]
Since its long anticipated reopening in September 2012 the Stedelijk Museum Amsterdam has served up some fine shows: The Mike Kelley retrospective was, if somewhat airtight, quite comprehensive, and Jeff Wall’s Tableaux Pictures Photographs 1996-2013 could easily compete with the grand overview nine years ago at Tate Modern. But with Marlene Dumas: The Image as Burden the museum has hit a new high point. The retrospective of the nation’s best-known painter is by far the best exhibiti... [more]
Awkwardness is arguably a failure in a relationship to the terms of interaction. In our hyper-mediated 21st century we live increasingly curated lives where each action or image is constructed for specific, often distinct, audiences. We have become skilled at navigating multiple modes of communication and mediated performance that resist the risks of connection. Cautious of the misstep, we compartmentalize to avoid the slip into reading from the wrong script, preaching to the wrong choir—v... [more]