ArtSlant - Contemporary Art Network http://www.artslant.com/trn/Articles/show en-us 40 One Year On, Is Theaster Gates Reimagining the Modern Museum at the Stony Island Arts Bank? <p class="Normal1" style="line-height: 26px;"><span style="font-family: georgia, palatino; font-size: medium;">I first visited the <a href="https://rebuild-foundation.org/site/stony-island-arts-bank/" target="_blank">Stony Island Arts Bank</a> about six months ago, on an unseasonably warm Saturday afternoon in April. As I approached the building, I was struck first by the sunlight slanting through its massive stone columns, second by how much it stood out from its surroundings. It looked as if the Field Museum had a child&mdash;a rebellious teenager&mdash;who snuck away from Chicago&rsquo;s Museum Campus in the middle of the night to start a new life on a sleepy South Side street. And, in a sense, that&rsquo;s kind of what happened.</span></p> <p class="Normal1" style="line-height: 26px;"><span style="font-family: georgia, palatino; font-size: medium;">The Arts Bank is billed by its creator, artist-activist Theaster Gates, as &ldquo;an institution of and for the South Side.&rdquo; Part exhibition hall, part community center, it&rsquo;s not really a museum in the strictest sense of the word, but it looks and feels a lot like one. I tend to think of it as a counterpoint to the more centrally located, tourist-friendly museums snuggled between skyscrapers and public parks along Michigan Avenue, an alternative to cultural spaces like the Art Institute of Chicago.</span></p> <p class="Normal1" style="line-height: 26px;"><span style="font-family: georgia, palatino; font-size: medium;">And what, exactly, makes the Arts Bank so unlike the AIC? Well, for one thing, the AIC occupies an expensive piece of real estate in Millennium Park that&rsquo;s convenient for out-of-towners staying in nearby hotels or wealthy urbanites who can afford to live in the area, but isn&rsquo;t particularly accessible to people living in lower-income neighborhoods further from the Loop. For another thing, most of the one and a half million visitors it admits each year live outside city limits and are less interested in up-and-coming local creatives than in established artists based elsewhere in the United States and the world at large. Accordingly, the AIC devotes the bulk of its more than seventy-million-dollar annual operating budget to exhibitions and programming featuring internationally acclaimed art with broad appeal, rather than work being created in Chicago by people invested in enriching the culture of their city and the lives of the people living in it.<a title="" href="#_edn1">[1]</a> The Institute is in no way unusual in this regard. In fact, most of the larger museums and cultural institutions operating today occupy similar locations and have adopted similar funding strategies.<br /><br /></span></p> <p class="Normal1" style="line-height: 32px; text-align: center;"><span style="font-family: georgia, palatino; font-size: x-large;"><em>&ldquo;...the Arts Bank invites us to reimagine what a twenty-<br />first century museum can and should be, asks us to <br />rethink whose interests a cultural space ought to serve.&rdquo;</em></span></p> <p class="Normal1" style="line-height: 26px; text-align: center;"><span style="font-family: georgia, palatino; font-size: x-large;"><em>&nbsp;</em></span></p> <p class="Normal1" style="line-height: 26px;"><span style="font-family: georgia, palatino; font-size: medium;">The Stony Island Arts Bank is not that kind of organization, though. It&rsquo;s located about eight miles south of the Loop, in Grand Crossing, and </span><a style="font-family: georgia, palatino; font-size: medium;" href="https://rebuild-foundation.org/site/stony-island-arts-bank/" target="_blank">conceives of itself as</a><span style="font-family: georgia, palatino; font-size: medium;"> &ldquo;a space for neighborhood residents to preserve, access, reimagine and share their heritage&hellip; a destination for artists, scholars, curators, and collectors to research and engage with South Side history.&rdquo; Administrators often invite artists from other cities, states, and countries to present works in its galleries, but its exhibitions and events are nevertheless driven by the needs of the community it serves, intended to appeal to the interests of the people&mdash;mostly working class people of color&mdash;living nearby.</span></p> <p class="Normal1" style="line-height: 26px;"><span style="font-family: georgia, palatino; font-size: medium;">In this regard, the Arts Bank invites us to reimagine what a twenty-first century museum can and should be, asks us to rethink whose interests a cultural space ought to serve. And though it sometimes struggles to reach the local residents that are so central to its mission (more on that later), it is unquestionably committed to serving its community.</span></p> <p class="Normal1" style="line-height: 26px;"><span style="font-family: georgia, palatino; font-size: medium;"><img src="http://dbprng00ikc2j.cloudfront.net/userimages/32120/1dkh/20160922132350-063858_SteveHall_001.jpg" alt="" /><span style="font-family: Arial, Helvetica, Sans, 'Trebuchet MS', Tahoma, Verdana; font-size: 12px;"><br /></span></span></p> <p style="text-align: center;"><span style="font-size: x-small; font-family: georgia, palatino;">Carlos Bunga's installation at Stony Island Arts Bank. Photo: Steve Hall &copy; Hedrich Blessing. Courtesy of Rebuild Foundation</span></p> <p style="text-align: center;"><span style="font-family: georgia, palatino; font-size: x-small; line-height: 26px;">&nbsp;</span></p> <p class="Normal1" style="line-height: 26px;"><span style="font-family: georgia, palatino; font-size: medium;">This sense of commitment was evident in the Bank&rsquo;s <a href="http://www.artslant.com/chi/articles/show/44175" target="_blank">first exhibition</a>, staged with the space&rsquo;s launch this time last year, when Portuguese artist Carlos Bunga, who often addresses immigration and identity in his site-specific installations, made an architectural intervention of cardboard columns, perfectly matched to the aesthetics of building&rsquo;s partial renovation. And it continues to remain evident in its <a href="http://www.nytimes.com/2016/09/16/us/tamir-rice-cleveland-chicago.html?_r=0" target="_blank">most recent loan</a>: the gazebo where twelve-year-old Tamir Rice was shot and killed by Cleveland police officers in 2012, which will serve as a monument for quiet contemplation and collective mourning. Since its inception the Bank has sought out work that fosters a sense of community amongst its audiences. And Gates wants to ensure that it continues to do exactly that for many years to come.</span></p> <p class="Normal1" style="line-height: 26px;"><span style="font-family: georgia, palatino; font-size: medium;">Born in 1973, in one of Chicago&rsquo;s most impoverished, segregated West Side neighborhoods, Gates tested into a selective enrollment school in an affluent North Side neighborhood and spent much of his childhood navigating the city&rsquo;s socioeconomic disparities, literally and figuratively. Near his school, he noted, roads were better paved, garbage trucks trundled past more frequently, and civic spaces received more money. He never forgot this obvious inequity, and when he enrolled at Iowa State University, in 1992, he decided to study urban planning (though he couldn&rsquo;t resist adding a ceramics major as well). After graduating, Gates ultimately returned to Chicago and began working for the Transit Authority, acquiring public artworks for underfunded bus and train stations throughout the city. Eventually, he accepted a position as an arts planner at the University of Chicago and relocated to a South Side neighborhood near campus: Grand Crossing.</span></p> <p class="Normal1" style="line-height: 26px;"><span style="font-family: georgia, palatino; font-size: medium;">The year he moved, 2006, the unemployment rate in the neighborhood was far higher than the national average. Many people lost their homes and businesses, and, in an effort to prevent squatters from settling in the abandoned buildings or disgruntled residents from defacing them, city officials initiated a scorched earth policy of sorts. They tore down what they didn&rsquo;t have the resources or the inclination to repair, until entire blocks came to resemble blighted landscapes, solitary buildings standing out against the distant city skyline, each one surrounded by rubble and vacant lot after vacant lot.</span></p> <p class="Normal1" style="line-height: 26px;"><span style="font-family: georgia, palatino; font-size: medium;">This was the scene Gates encountered when he moved to Grand Crossing, but it wasn&rsquo;t one he was content to leave unchanged. In a statement he penned for a 2012 project, he wrote that &ldquo;someone somewhere decided these streets were ruins, and I wondered whether I had the power to restore them... I couldn&rsquo;t believe that there were blocks of beautiful homes that had been abandoned. I refused to accept that so many men and women were out of work.&rdquo;<a title="" href="#_edn2">[2]</a> And so he began to do something remarkable&mdash;he began to use the money he raised selling his ceramics and sculptural works to buy up unoccupied homes and businesses in the area, hiring local workers to help him transform them into vibrant community centers that could tangibly improve the lives of the people who lived near them.</span></p> <p class="Normal1" style="line-height: 26px;"><span style="font-family: georgia, palatino; font-size: medium;"><img src="http://dbprng00ikc2j.cloudfront.net/userimages/32120/1dkh/20160922132711-063857_TomHarris_003.jpg" alt="" /></span></p> <p style="text-align: center;"><span style="font-family: georgia, palatino; font-size: x-small;">Stony Island Arts Bank. Photo: Tom Harris &copy; Hedrich Blessing. Courtesy of Rebuild Foundation</span></p> <p style="text-align: center;"><span style="font-family: georgia, palatino; font-size: x-small; line-height: 26px;">&nbsp;</span></p> <p class="Normal1" style="line-height: 26px;"><span style="font-family: georgia, palatino; font-size: medium;">He purchased the first building, a dilapidated storefront on Dorchester Avenue, in late 2006 and renovated it with salvaged materials found throughout the city. He then bought two more buildings on the same block, eventually establishing three distinct programming spaces: Listening House, Archive House, and Black Cinema House. All three are now open to the public throughout the year, free of charge.</span></p> <p class="Normal1" style="line-height: 26px;"><span style="font-family: georgia, palatino; font-size: medium;">The Dorchester Projects became an almost overnight success, garnering Gates exhibition invitations, major media interviews, and a cadre of new investors eager to bankroll his next big project. He leveraged all the positive publicity and influence to embark on even more ambitious undertakings: In 2010 he founded the <a href="https://rebuild-foundation.org/" target="_blank">Rebuild Foundation</a>, a nonprofit dedicated to renovating and repurposing properties throughout the greater Grand Crossing area, and in 2012 he set his sights on the abandoned Stony Island Saving and Loan building. The 17,000-square-foot behemoth of a building had been one of the most recognizable buildings in the neighborhood when it was built in 1923. But it fell into disrepair in the 1980s, and by 2012 it was so dilapidated that the city government agreed to sell it to Gates for a single dollar when he expressed an interest in it.</span></p> <table width="400" align="left"> <tbody> <tr> <td style="padding: 10px;"> <p style="font-family: georgia, palatino; font-size: large; color: #1f1f1f;"><span style="font-size: x-large;"><em>&ldquo;This building has been a monument, an anchor in the community.&rdquo;<br /></em></span></p> </td> </tr> </tbody> </table> <p class="Normal1" style="line-height: 26px;"><span style="font-family: georgia, palatino; font-size: medium;">Gates knew that securing the deed to the building was only the first step in a lengthy renovation process, but he remained undaunted, unfazed by the fact that seventeen developers before him had tried&mdash;and failed&mdash;to rehabilitate the property. &ldquo;Projects like this require belief more than they require funding,&rdquo; he insisted during <a href="https://www.fastcodesign.com/3051918/the-stony-island-arts-bank-brings-redemptive-architecture-to-chicagos-south-side?show_rev_content#11" target="_blank">an interview</a> with writer Diana Budds. &ldquo;If there's not a kind of belief, motivation, and critical aggregation of people who believe with you in a project like this, it cannot happen.&rdquo; And his unwavering commitment to the project eventually paid off. Today, the Arts Bank is once again one of the most recognizable, respected buildings in Grand Crossing. It houses thousands upon thousands of books, periodicals, slides, and records. It also hosts rotating exhibitions and near-daily events, luring many of the city&rsquo;s arts professionals and cultural glitterati far south of the institutions they typically frequent.</span></p> <p class="Normal1" style="line-height: 26px;"><span style="font-family: georgia, palatino; font-size: medium;"><img src="http://dbprng00ikc2j.cloudfront.net/userimages/32120/1dkh/20160922132915-063857_TomHarris_002.jpg" alt="" /></span></p> <p style="text-align: center;"><span style="font-family: georgia, palatino; font-size: x-small;">Stony Island Arts Bank. Photo: Tom Harris &copy; Hedrich Blessing. Courtesy of Rebuild Foundation</span></p> <p style="text-align: center;"><span style="font-family: georgia, palatino; font-size: x-small; line-height: 26px;">&nbsp;</span></p> <p class="Normal1" style="line-height: 26px;"><span style="font-family: georgia, palatino; font-size: medium;">During my most recent visit, I met a young AIC employee who told me that she&rsquo;s been a fan of Gates&rsquo; work since she saw his 2012 dOCUMENTA project.<a title="" href="#_edn3">[3]</a> Many of my colleagues at the Museum of Contemporary Art Chicago are equally absorbed by his work, probably because&mdash;as someone who blurs the boundaries between grassroots activism and fine art&mdash;he is something of an anomaly to museum professionals. As critic Murray Whyte wrote in <a href="https://www.thestar.com/entertainment/visualarts/2016/07/23/theaster-gates-building-and-rebuilding-a-new-kind-of-museum-at-the-ago.html" target="_blank">an essay</a> on the subject: &ldquo;Gates comes billed as social entrepreneur, champion of the marginalized and crusader for the urban poor as much as artist, and his matter-of-fact way of not separating any of the things he does makes 21st-century museums eager to embrace his can-do, grassroots-and-bootstraps approach to culture wholeheartedly.&rdquo;</span></p> <p class="Normal1" style="line-height: 26px;"><span style="font-family: georgia, palatino; font-size: medium;">Put another way, I think that Gates&rsquo; community-based practice appeals to me, and so many of my colleagues, because we are painfully aware that American museums, specifically art museums, need to change the way they relate to their audiences, and soon. <a href="americansforthearts.org:by-program:reports-and-data:research-studies-publications:arts-index" target="_blank">According to the 2016 National Art Index</a>, the total percentage of the US population visiting art museums annually shrank from 15.5 to 12.9 percent between 2003 and 2013. Over the same ten-year period, art museum attendance in metropolitan areas declined from 33 to 31.4 million annual visitors. And, perhaps most disturbingly, research indicates that those who are continuing to attend art museums are increasingly less representative of the US population as a whole&mdash;that is, they are significantly more likely to be wealthy and white than the average citizen. The American Association of Museums recently released <a href="aam-us.org:docs:center-for-the-future-of-museums:demotransaam2010.pdf" target="_blank">a report</a> explaining in no uncertain terms that their audiences are becoming less and less diverse and that museums are therefore meeting the needs of a smaller and smaller segment of society.&rdquo;</span></p> <table width="400" align="right"> <tbody> <tr> <td style="padding: 10px;"> <p style="font-family: georgia, palatino; font-size: large; color: #1f1f1f;"><span style="font-size: x-large;"><em>&ldquo;...those who are continuing to attend art museums are increasingly less representative of the US population as a whole.&rdquo;</em></span></p> </td> </tr> </tbody> </table> <p class="Normal1" style="line-height: 26px;"><span style="font-family: georgia, palatino; font-size: medium;">That&rsquo;s why so many of us find Gates appealing. He seems to be suggesting, through his work with the Arts Bank and his other Rebuild projects, that he has found a way to construct a new kind of art institution&mdash;one built by and for the people living in the community it serves, one capable of reaching audiences that other organizations have failed to attract. I think that Gates has been mostly successful in this endeavor, but the Arts Bank is still too new to be widely known outside of arts circles, and I sometimes wonder if it&rsquo;s more popular amongst the city&rsquo;s jet set&mdash;<a href="https://news.artnet.com/market/will-rahm-emanuel-ruin-chicagos-chance-for-cultural-renaissance-336772" target="_blank">who meet Gates at fundraisers or galas</a>&mdash;than to local residents less enmeshed in the city&rsquo;s highfalutin contemporary art scene.</span></p> <p class="Normal1" style="line-height: 26px;"><span style="font-family: georgia, palatino; font-size: medium;">This worry was on my mind when I reached out to Kate Hadley Toftness, who manages archival collections and residencies for Rebuild, to ask her how many of the organization&rsquo;s visitors came from the local community. She told me that staff members can&rsquo;t easily track who comes to their exhibitions or events because admission is free, and because they don&rsquo;t ask their visitors to provide them with their zip codes upon entry, the way a larger institution might. But she also assured me that, in her own experience, she&rsquo;s found that most of the visitors who attend the Arts Bank on weekdays live nearby. And even on weekends, when you&rsquo;re as likely to see someone from the Gold Coast as someone from Grand Crossing, the Bank still seems to be outperforming many arts organizations in its ability to attract underserved audiences.</span></p> <p class="Normal1" style="line-height: 26px;"><span style="font-family: georgia, palatino; font-size: medium;">And, perhaps equally importantly, the mere fact that the Bank is once again open and operating is a boon to community members. &ldquo;This building has been a monument,&rdquo; Toftness explained, &ldquo;an anchor in the community.&rdquo; It&rsquo;s worth remembering that the Bank had been left vacant for more than thirty years, allowed to deteriorate little by little, until it became an unwelcome eyesore to its neighbors. Gates changed all that when he bought the property. &ldquo;It's not so much that the buildings on Chicago's South and West Sides are vacant,&rdquo; he explained in a 2015 <em><a href="chicagotribune.com:lifestyles:ct-mag-how-to-2016-theaster-gates-20160103-story.html">Tribune </a></em><a href="http://www.chicagotribune.com/lifestyles/ct-mag-how-to-2016-theaster-gates-20160103-story.html" target="_blank">article</a>, &ldquo;but that they started to lose value for the black community&hellip; I'm interested in showing there is still so much latent power in these buildings, and by simply making these spaces available again, and open again, great things can happen.&rdquo; </span></p> <p class="Normal1" style="line-height: 26px;"><span style="font-family: georgia, palatino; font-size: medium;">Gates is aware, of course, that when the &ldquo;value&rdquo; of a particular neighborhood begins to rise, gentrification is rarely far behind. But, by making his projects so particular to the interests of the current residents of Grand Crossing&mdash;for instance, by conceiving of Black Cinema House as a space that exclusively screens films by black artists and prioritizes works by South Side natives invested in issues of community activism&mdash;he may have found a way to spur on development in the neighborhood while staving off, or at least slowing down, the onset of gentrification in the area. In this regard, he differentiates his particular brand of <a href="http://www.artspace.com/magazine/interviews_features/qa/theaster-gates-interview-53126" target="_blank">&ldquo;space-creation, of space-retention, of active growth&rdquo;</a> from gentrification as we commonly conceive of it.</span>&nbsp;</p> <p><img src="http://dbprng00ikc2j.cloudfront.net/userimages/32120/1dkh/20160922133043-063858_TomHarris_006.jpg" alt="" /></p> <p style="text-align: center;"><span style="font-family: georgia, palatino; font-size: x-small; line-height: 26px;">Stony Island Arts Bank. Photo: Tom Harris &copy; Hedrich Blessing. Courtesy of Rebuild Foundation</span></p> <p style="text-align: center;"><span style="font-family: georgia, palatino; font-size: x-small;">&nbsp;</span></p> <p style="line-height: 26px;"><span style="font-family: georgia, palatino; font-size: medium;">Ultimately, Gates&rsquo; goal is a lofty one. He is attempting&mdash;literally and figuratively&mdash;to tear down and rebuild the twenty-first century art institution, transforming it into a more inclusive, accessible space that serves the interests of&nbsp;the people living near it.</span></p> <p style="line-height: 26px;"><span style="font-family: georgia, palatino; font-size: medium;">When I stride past the Arts Bank&rsquo;s larger-than-life columns or stare at the floor-to-ceiling bookshelves in its library, I can believe that he has already done a great deal to reshape our understanding of what a museum can be. When I think of the kids I watched ogle the ceiling tiles of its soaring atrium, or the teenaged boy whose eyes lit up when he learned that the Bank houses the vinyl collection of local music legend Frankie Knuckles, it isn&rsquo;t hard for me to believe that, even though the Arts Bank is not yet known throughout the South Side, it is already providing greater access to art, to culture, and will only continue to attract larger crowds in the years to come.<a title="" href="#_edn4">[4]</a> And when I remember the older woman I spoke to there, who has lived in Grand Crossing all her life and says that the Arts Bank is one of the best things to happen in the neighborhood in a long time, I&rsquo;m inclined to agree.&nbsp;</span></p> <p class="Normal1" style="line-height: 26px;"><span style="font-family: georgia, palatino; font-size: medium;">&nbsp;</span></p> <p class="Normal1" style="line-height: 26px;"><span style="font-family: georgia, palatino; font-size: medium;">&mdash;Lindsey Anderson</span></p> <p class="Normal1" style="line-height: 26px;">&nbsp;</p> <div><em><span style="font-family: georgia, palatino; font-size: medium;">Lindsey Anderson is an arts editor who lives and works&nbsp;in Chicago.&nbsp;She has strong feelings about serial commas and the best bar patios in her city.</span></em></div> <div><em><span style="font-family: georgia, palatino; font-size: medium;">&nbsp;</span></em></div> <div style="line-height: 26px;"><br clear="all" /><hr style="line-height: 26px;" align="left" size="1" width="33%" /> <div style="line-height: 26px;"> <p class="Normal1" style="line-height: 26px;"><span style="font-family: georgia, palatino; font-size: small;"><a title="" href="#_ednref1">[1]</a> The organization GuideStar releases yearly reports on US museums and other nonprofits in an effort to help visitors assess whether the organizations are spending their money wisely. You can download GuideStar&rsquo;s latest report on the Art Institute <a href="guidestar.org/profile/36-2167725" target="_blank">here</a>.</span></p> </div> <div style="line-height: 26px;"> <p class="Normal1" style="line-height: 26px;"><span style="font-family: georgia, palatino; font-size: small;"><a title="" href="#_ednref2">[2]</a> You can read this statement, along with many insightful essays about Gates and his work, in <em>12 Ballads For Huguenot House</em> (2012), an artist&rsquo;s book published by K&ouml;ln: Veranstalungs to commemorate the project Gates conceived for dOCUMENTA 13.</span></p> </div> <div style="line-height: 26px;"> <p class="Normal1" style="line-height: 26px;"><span style="font-family: georgia, palatino; font-size: small;"><a title="" href="#_ednref3">[3]</a> To complete the project, which he titled <em>12 Ballads for Huguenot House</em>, Gates salvaged pieces of an abandoned building in Grand Crossing. He then shipped the materials to Kassel, Germany, and used them to renovate an abandoned residence there.</span></p> </div> <div style="line-height: 26px;"> <p style="line-height: 26px;"><span style="font-family: georgia, palatino; font-size: small;"><a title="" href="#_ednref4">[4]</a> Gates was recently awarded $10.25 million dollars to revitalize South Side and West Side buildings throughout Chicago, and he intends to invest a significant portion of the funds into additional programming at the Arts Bank. The full story is available <a href="dnainfo.com:chicago:20160908:grand-crossing:theaster-gates-projects-get-10m-grow-grand-crossing-garfield-park">here</a>.</span></p> <p style="line-height: 26px;"><span style="font-family: georgia, palatino; font-size: small;">&nbsp;</span></p> <p style="line-height: 26px;"><span style="font-family: georgia, palatino; font-size: x-small;">(Image at top:&nbsp;Stony Island Arts Bank. Photo: Tom Harris &copy; Hedrich Blessing. Courtesy of Rebuild Foundation)</span></p> </div> </div> Sat, 24 Sep 2016 14:50:05 +0000 http://www.artslant.com/trn/Articles/list http://www.artslant.com/trn/Articles/list Wednesday Web Artist of the Week: Haydi Roket <p style="line-height: 26px;"><span style="font-family: georgia, palatino; font-size: medium;">Istanbul-based <a href="http://www.haydiroket.net">Haydi Roket </a>is part of a rising wave of new media artists turning their hands to the curation of online digital art shows. He launched his latest show <em><a href="http://virtualdream.online">Virtual Dream</a></em> earlier this week. <em>Virtual Dream</em> features 30 artists (full disclosure: I am one of them) exploring the tensions and inconsistencies between our real and our increasingly dominant digital lives.</span></p> <p style="line-height: 26px;"><span style="font-family: georgia, palatino; font-size: medium;">Most online experiences consist of a seemingly random sequence of abstract images and ideas, much like our &ldquo;real&rdquo; dreams. The show, seen as a whole, gives us a fascinating overview of the digital dream state that many of us have unavoidably succumbed to. It also vitally reflects the massive creative impact that the virtual world has had on a whole generation of artists.</span></p> <p style="line-height: 26px;"><span style="font-family: georgia, palatino; font-size: medium;">I spoke to Roket about his inspiration for <em>Virtual Dream</em>, his work with the influential Wrong Biennial, and how he got his start in online curation.</span></p> <p style="line-height: 26px; text-align: center;">&nbsp;</p> <p style="line-height: 26px; text-align: center;"><span style="font-family: georgia, palatino; font-size: medium;"><img src="http://dbprng00ikc2j.cloudfront.net/userimages/32120/1dkh/20160921111122-Dream_no.6_by_Sholim.gif" alt="" /></span></p> <p style="line-height: 26px; text-align: center;"><span style="font-family: georgia, palatino; font-size: small;"><a href="http://virtualdream.online/sholim.html" target="_blank">Sholim</a>. All images from&nbsp;<em>Virtual Dream</em><br /></span></p> <p style="line-height: 26px; text-align: center;"><span style="font-family: georgia, palatino; font-size: small;"><em>&nbsp;</em></span></p> <p style="line-height: 26px;"><span style="font-family: georgia, palatino; font-size: medium;"><strong>Christian Petersen: What was your first experience of digital/new media art and why were you attracted to it?</strong></span><span style="font-family: georgia, palatino; font-size: medium;">&nbsp;</span></p> <p style="line-height: 26px;"><span style="font-family: georgia, palatino; font-size: medium;"><strong>Haydi Roket:</strong>&nbsp;My first introduction to the digital arts was with Deluxe Paint. I was designing logos for the intros of our Amiga crack scene group. I was impressed with computer arts from first sight so I was easily attracted to it.</span></p> <p style="line-height: 26px;"><strong style="font-family: georgia, palatino; font-size: medium;">CP: When did you start using a computer to make art? What did you make?</strong></p> <p style="line-height: 26px;"><span style="font-family: georgia, palatino; font-size: medium;"><strong>HR:</strong>&nbsp;I think it was 1994. I first started making sprites [bitmap graphics designed to be part of a larger scene, often characters and objects] for shoot 'em up games I was making using game makers.</span></p> <p><span style="font-family: georgia, palatino; font-size: medium;">&nbsp;</span></p> <p style="line-height: 26px;"><span style="font-family: georgia, palatino; font-size: medium;"><img style="margin-right: auto; margin-left: auto; display: block;" src="http://dbprng00ikc2j.cloudfront.net/userimages/32120/1dkh/20160921112131-noir77---trappers.gif" alt="" /></span></p> <p style="line-height: 26px; text-align: center;"><a href="http://virtualdream.online/noir77.html" target="_blank"><span style="font-family: georgia, palatino; font-size: small;">Noir 77</span></a></p> <p style="line-height: 26px; text-align: center;"><span style="font-family: georgia, palatino; font-size: small;">&nbsp;</span></p> <p style="line-height: 26px;"><strong style="font-family: georgia, palatino; font-size: medium;">CP: What was the first new media art show you curated?&nbsp;</strong></p> <p style="line-height: 26px;"><span style="font-family: georgia, palatino; font-size: medium;"><strong>HR:</strong> I curated <em><a href="https://www.facebook.com/events/531990246976691/" target="_blank">Hypermedia Dreams</a></em> in 2015 for <a href="http://thewrong.org/" target="_blank">The Wrong: New Digital Art Biennale</a>. We worked with more than 30 artists who are very important in their own mediums. The Wrong was really big! It was the biggest event held in this medium. All the hundreds of&nbsp;participants got thousands of submissions and it got a lot of attention and support. Being a part of it and working with these awesome people was an excellent experience. After that I curated for <a href="http://www.6pmyourlocaltime.com/participant/mert-keskin-a-k-a-haydiroket/?t=6pmeu" target="_blank">the Istanbul branch</a> of <a href="http://www.6pmyourlocaltime.com/events/europe-2/" target="_blank">6PM Your Local Time Europe</a>. <em>Virtual Dream</em> will be my third curating experience.&nbsp;</span></p> <p style="line-height: 26px;"><span style="font-family: georgia, palatino; font-size: medium;"><img style="display: block; margin-left: auto; margin-right: auto;" src="http://dbprng00ikc2j.cloudfront.net/userimages/32120/1dkh/20160921111832-Elena-Romenkova---20160723-alone-_2_.jpg" alt="" /></span></p> <p style="line-height: 26px; text-align: center;"><span style="font-size: small;"><a href="http://virtualdream.online/elenaromenkova.html" target="_blank"><span style="font-family: georgia, palatino;">Elena Romenkova</span></a></span></p> <p style="line-height: 26px; text-align: center;"><span style="font-size: small;"><span style="font-family: georgia, palatino;"><img src="http://dbprng00ikc2j.cloudfront.net/userimages/32120/1dkh/20160921112702-Ellectra-Radikal----Virtual-Dream.jpg" alt="" /></span></span></p> <p style="line-height: 26px; text-align: center;"><span style="font-size: small;"><span style="font-family: georgia, palatino;">Ellectra Radikal, Full video <a href="http://virtualdream.online/ellectraradikal.html" target="_blank">here</a></span></span></p> <p style="line-height: 26px; text-align: center;">&nbsp;<span style="font-family: georgia, palatino; font-size: small;">&nbsp;</span></p> <p style="line-height: 26px;"><span style="font-family: georgia, palatino; font-size: medium;"><strong>CP: What are the unique challenges to curating online art shows?</strong></span></p> <p style="line-height: 26px;"><span style="font-family: georgia, palatino; font-size: medium;"><strong>HR:</strong> Since I haven't curated a real life show, the only struggles I have had are online difficulties: struggles like getting people together, being in contact with them all, and following deadlines. I can also say things like taking responsibility, designing the website, dealing with the domain, etc.</span></p> <p style="line-height: 26px;"><span style="font-family: georgia, palatino; font-size: medium;"><strong>CP: Why do you think online shows are important?</strong></span></p> <p style="line-height: 26px;"><span style="font-family: georgia, palatino; font-size: medium;"><strong>HR:</strong> Online shows are really important for exhibiting digital art. I also think it's much cooler. I'm sure in the next few years, with the development of virtual reality, there will be even more excellent online events happening.&nbsp;In the near future when everything goes digital maybe people will look back at the things we had done before and say &ldquo;wow look at the stuff these guys dealt with.&rdquo; :)</span></p> <p style="line-height: 26px;"><span style="font-family: georgia, palatino; font-size: medium;">I don't know. Maybe they will respect the things we have done, but the technology and the evolution of digital arts is unstoppable and that's why all artists should organize more online events and support them.&nbsp;</span></p> <p style="line-height: 26px; text-align: center;"><span style="font-family: georgia, palatino; font-size: medium;"><img style="display: block; margin-left: auto; margin-right: auto;" src="http://dbprng00ikc2j.cloudfront.net/userimages/32120/1dkh/20160921111551-Mark-klink-Dream2.gif" alt="" /><a href="http://virtualdream.online/markklink.html" target="_blank"><span style="font-size: small;">Mark Klink</span></a></span></p> <p style="line-height: 26px; text-align: center;"><span style="font-family: georgia, palatino; font-size: medium;"><span style="font-size: small;"><img src="http://dbprng00ikc2j.cloudfront.net/userimages/32120/1dkh/20160921112041-Arthur-Machado_To_._k_z_---nels.jpg" alt="" /></span></span></p> <p style="line-height: 26px; text-align: center;"><span style="font-family: georgia, palatino; font-size: medium;"><span style="font-size: small;"><a href="http://virtualdream.online/arthurmachado.html" target="_blank">Arthur Machado</a></span></span></p> <p style="line-height: 26px; text-align: center;">&nbsp;</p> <p style="line-height: 26px;"><span style="font-family: georgia, palatino; font-size: medium;"><strong>CP: What are your thoughts on making money from digital art?</strong></span></p> <p style="line-height: 26px;"><span style="font-family: georgia, palatino; font-size: medium;"><strong>HR:</strong> Making money out of digital arts is rarely easy; most of the time it&rsquo;s really hard. Some brands are working with artists on projects from the beginning. If you are good and lucky enough you can make good money from it. But it&rsquo;s still unclear how digital arts will be sold, and since it&rsquo;s not a physical thing you can touch people still consider whether they should invest in it or not. I think in the near future all these problems will vanish. We just need to be patient.</span></p> <p style="line-height: 26px;"><span style="font-family: georgia, palatino; font-size: medium;"><strong>CP: What online art shows do you think have been done best?</strong></span></p> <p style="line-height: 26px;"><span style="font-family: georgia, palatino; font-size: medium;"><strong>HR:</strong> I would say The Wrong and <a href="http://spamm.fr" target="_blank">SPAMM</a> because of their courageous set-ups&nbsp;for digital arts in the early days.</span><span style="font-family: georgia, palatino; font-size: medium; text-align: center;">&nbsp;</span></p> <p><img style="display: block; margin-left: auto; margin-right: auto;" src="http://dbprng00ikc2j.cloudfront.net/userimages/32120/1dkh/20160921111324-raquel-meyers---myopiaforthefuture.jpg" alt="" /></p> <p style="text-align: center;"><span style="font-family: georgia, palatino; font-size: small;">Raquel Meyers, Full animation&nbsp;<a href="http://virtualdream.online/raquelmeyers.html" target="_blank">here</a></span></p> <p style="text-align: center;"><span style="font-family: georgia, palatino; font-size: small;">&nbsp;</span></p> <p style="line-height: 26px;"><span style="font-family: georgia, palatino; font-size: medium;"><strong>CP: Tell us a little about the idea behind <em>Virtual Dream</em>.</strong></span></p> <p style="line-height: 26px;"><span style="font-family: georgia, palatino; font-size: medium;"><strong>HR:</strong> I think we all live this virtual dream. In these days we live in the online world more, expressing and sharing our thoughts and memories in the virtual world. People&rsquo;s virtual identities have surpassed their real identities; people started caring about their virtual lives more than their real lives. They live thinking about how to shine their virtual personalities and feed it as if it&rsquo;s a mandatory thing. All this virtual happiness and memories that they create control their lives, and people compulsorily live in this unlimited world. That is the virtual dream.&nbsp;</span></p> <p style="line-height: 26px; text-align: center;"><img src="http://dbprng00ikc2j.cloudfront.net/userimages/32120/1dkh/20160921112510-v5mt_dream6.gif" alt="" /></p> <p style="line-height: 26px; text-align: center;"><a href="http://virtualdream.online/v5mt.html" target="_blank"><span style="font-family: georgia, palatino; font-size: small;">V5MT</span></a></p> <p style="line-height: 26px; text-align: center;">&nbsp;</p> <p style="line-height: 26px;"><span style="font-family: georgia, palatino; font-size: medium;"><strong>CP: What other projects are you working on?</strong></span></p> <p style="line-height: 26px;"><span style="font-family: georgia, palatino; font-size: medium;"><strong>HR:</strong> I still create GIFs. However, it&rsquo;s not as much as it used to be. Apart from the freelance stuff that I do and things I prepare for various events, there is one project that I&rsquo;m working on and it will make this virtual world very happy. I can only say that for now. I hope if everything goes according to plan I will put it into practice around the middle of next year.</span></p> <p style="line-height: 26px;"><span style="font-family: georgia, palatino; font-size: medium;"><img style="display: block; margin-left: auto; margin-right: auto;" src="http://dbprng00ikc2j.cloudfront.net/userimages/32120/1dkh/20160921114430-Haydi-Roket-gif-11.gif" alt="" width="600" /></span></p> <p style="line-height: 26px; text-align: center;"><span style="font-family: georgia, palatino; font-size: small;">Haydi Roket</span></p> <p style="line-height: 26px;"><span style="font-family: georgia, palatino; font-size: medium;">&nbsp;</span></p> <p style="line-height: 26px;"><span style="font-family: georgia, palatino; font-size: medium;">&mdash;<a href="http://www.artslant.com/global/artists/show/441718-christian-petersen?tab=REVIEWS" target="_blank">Christian Petersen</a></span></p> <p style="line-height: 26px;"><span style="font-family: georgia, palatino; font-size: medium;"><em>We run an online magazine, so of course, we're interested in what's happening with art on the web. We invited online gallerist, founder, and curator of&nbsp;<a href="http://www.digitalsweatgallery.com/" target="_blank">Digital Sweat Gallery</a>, Christian Petersen, to write a bi-monthly column for us. Every other Wednesday he selects a Web Artist of the Week.</em></span></p> <p style="line-height: 26px;"><span style="font-family: georgia, palatino; font-size: medium;">&nbsp;</span></p> <p style="line-height: 26px;"><span style="font-family: georgia, palatino; font-size: x-small;">(Image at top: <a href="http://virtualdream.online/hexeosis.html" target="_blank">Hexiosis</a>. All images from&nbsp;<em>Virtual Dream</em>)</span></p> Wed, 21 Sep 2016 13:15:21 +0000 http://www.artslant.com/trn/Articles/list http://www.artslant.com/trn/Articles/list In a Moving Orchestra of Grief, Mourning Is a Professional—and Political—Act <p class="Body" style="line-height: 26px;"><span style="font-family: georgia, palatino; font-size: medium;">&ldquo;Each of us has his own rhythm of suffering&rdquo; Roland Barthes wrote in his </span><em style="font-family: georgia, palatino; font-size: medium;">Mourning Diary</em><span style="font-family: georgia, palatino; font-size: medium;"> following the death of his mother with whom he lived until her passing. The performance of suffering, and the unique, personal rhythms it can take, is at the center of </span><em style="font-family: georgia, palatino; font-size: medium;">An Occupation of Loss</em><span style="font-family: georgia, palatino; font-size: medium;">, Taryn Simon&rsquo;s monumental installation and performance now in its two-week tenure at the Park Avenue Armory.</span></p> <p class="Body" style="line-height: 26px;"><span style="font-family: georgia, palatino; font-size: medium;">Eleven concrete towers&mdash;thin, cylindrical, dystopian&mdash;trace a semicircle through the center of the Armory&rsquo;s dimmed Wade Thompson Drill Hall, where viewers are invited in small groups for half-hour visits upon sunset. They watch from a distance as the thirty professional mourners Simon recruited from across the globe slowly materialize and take residence in the tower entrances. As the mourners start to lament, the audience joins them on the main stage, descending a staircase flanked by white neon rods, which illuminate the otherwise dark space. The gravity of agony prevails.</span></p> <p class="Body" style="line-height: 26px;"><span style="font-family: georgia, palatino; font-size: medium;"><img src="http://dbprng00ikc2j.cloudfront.net/userimages/32120/1dkh/20160919140839-01_An-Occupation-of-Loss_copyright-Naho-Kubota_CP.jpg" alt="" /></span></p> <p class="Body" style="line-height: 26px; text-align: center;"><span style="font-family: georgia, palatino; font-size: x-small;">Taryn Simon, Installation view of&nbsp;<em>An Occupation of Loss</em>&nbsp;at the Park Avenue Armory, September 13&ndash;25, 2016. Photo: Naho Kubota</span></p> <p class="Body" style="line-height: 26px; text-align: center;"><span style="font-family: georgia, palatino; font-size: x-small;">&nbsp;</span></p> <p class="Body" style="line-height: 26px;"><span style="font-family: georgia, palatino; font-size: medium;">Guests roam around the towers, witnessing cries of grief and diverse modes of anguish. The orchestra in this symphony of loss are the mourners, who hail from countries including Albania, Greece, Venezuela, Azerbaijan, Ecuador, and Burkina Faso. Simon, who spent years researching loss-related suffering through anthropological and historic lenses, invited them to perform their country or culture&rsquo;s mourning rituals for the duration of the project. Their cries range from vociferous laments, their songs and poems intensified by dramatic gestures, to melancholy tunes played on traditional instruments. Although black and modest fashions prevail, some performers encapsulate grief in eye-catching attire: a Bhutanese mourner dons a bear- or bird-like costume in orange fabric; a representative from Burkina Faso performs with a wooden mask.</span></p> <p class="Body" style="line-height: 26px;"><span style="font-family: georgia, palatino; font-size: medium;">&ldquo;The sufferings most deemed worth of representation are those understood to be the product of wrath, divine or human,&rdquo; wrote Susan Sontag in <em>Regarding the Pain of Others</em>. From the tormented body of Christ to the durational performances of artists like Marina Abramović or Ron Athey, the viewer has long faced suffering bodies throughout art history; however, the authenticity of the trauma is rarely analyzed. As opposed to the timed, structured and, for the most part canonized path that endurance and body art follows, the practices of the professional mourners remain uncategorized, and even disdained. Often marginalized in their communities due to contentious aspects of their practice, these individuals assume the grief of those whom they guide through suffering. The pain is not ostensibly their own, but that does not lessen the weight of their roles.</span></p> <p class="Body" style="line-height: 26px;"><img src="http://dbprng00ikc2j.cloudfront.net/userimages/32120/1dkh/20160919140404-05_An-Occupation-of-Loss_copyright-Naho-Kubota_CP.jpg" alt="" /></p> <p class="Body" style="line-height: 26px; text-align: center;"><span style="font-family: georgia, palatino; font-size: x-small;">Taryn Simon, Installation view of&nbsp;<em>An Occupation of Loss</em>&nbsp;at the Park Avenue Armory, September 13&ndash;25, 2016. Photo: Naho Kubota</span></p> <p class="Body" style="line-height: 26px; text-align: center;"><span style="font-family: georgia, palatino; font-size: x-small;">&nbsp;</span></p> <p class="Body" style="line-height: 26px;"><span style="font-family: georgia, palatino; font-size: medium;">But in the Armory, enshrouded between the walls of the bare cement towers, each performer, many having entered the United States under visas specific to this project, wails for the sake of wailing. Under these circumstances, drawing distinctions between the art of performance and the art of lamenting seems petty: both are achieved performers <em>by occupation</em>. Hired for funerals in their home countries to direct mourning rituals, these professionals mold agony into expressions of solemnity, shaped to the necessities of each occasion&mdash;an effort not so different from a performance artist&rsquo;s. Simon puts us in encounters shared between anonymous individuals&mdash;one performing extreme vulnerability before the gaze of the other. The peculiar tension built between the audience and Abramović during </span><em style="font-family: georgia, palatino; font-size: medium;">Rhythm 0</em><span style="font-family: georgia, palatino; font-size: medium;">, for example, should not be that disparate from the one prevailing </span><em style="font-family: georgia, palatino; font-size: medium;">An Occupation of Loss. </em><span style="font-family: georgia, palatino; font-size: medium;">Mutual trust and empathy, as well as scrutiny, remain visible in each instance.</span><span style="font-family: georgia, palatino; font-size: medium;">&nbsp;</span></p> <p class="Body" style="line-height: 26px;"><span style="font-family: georgia, palatino; font-size: medium;">While such interactions challenge both parties in different ways&mdash;exploitive for the sufferer and reprehensible for the observer&mdash;in this occasion, the dilemma adopts a political tone. Mostly composed of members of the art world or immediate circles, the audience gathers to observe what <em>the other</em> has to say. Cries and sorrowful tunes narrate grief, not necessarily of <em>a</em> loss but <em>the</em> loss&mdash;of those we never hear about or those whose abstract suffering we have become numb to. Bodies adrift, washing onto shores or startled faces, bathed in blood come into mind. So does their images&rsquo; perpetual normalization. Weaving rhythmic echoes of devastation in the sterile, protected interior of the Armory are voices, heard in languages unlike most we encounter in similar art events in this city.&nbsp;</span></p> <p class="Body" style="line-height: 26px;"><span style="font-family: georgia, palatino; font-size: medium;"><img src="http://dbprng00ikc2j.cloudfront.net/userimages/32120/1dkh/20160919141030-20160725_PAA_Taryn_Simon_054_CP.jpg" alt="" /></span></p> <p class="Body" style="line-height: 26px; text-align: center;"><span style="font-family: georgia, palatino; font-size: x-small;">Taryn Simon. Courtesy of Park Avenue Armory. Photo: Da Ping Luo</span></p> <p class="Body" style="line-height: 26px; text-align: center;"><span style="font-family: georgia, palatino; font-size: x-small;">&nbsp;</span></p> <p class="Body" style="line-height: 26px;"><span style="font-family: georgia, palatino; font-size: medium;">&ldquo;Whatever pain achieves, it achieves through its unsharability, and it ensures this unsharability through its resistance to language,&rdquo; states Elaine Scarry in the introduction of her 1985 book <em>The Body in Pain: The Making and Unmaking of the World</em>. <em>An Occupation of Loss</em> resists language or even reason, eventually unfolding to its own harmonious chaos in which pain, regardless of its cause, anchor, or witness, takes hold. The unworldly and abiding realm finally shatters as the mourners convene and leave the stage, and the audience receives catalogues containing the visa application forms submitted on behalf of the performers&mdash;from those accepted and those denied entry to the United States. And with this, as is so often the case with Simon's work, the project shifts from an aesthetic to a procedural, classificatory gesture. The applications legally recast occupations and identities from mourner to&nbsp;&ldquo;Artist or Entertainer Coming to Be Part of a Culturally Unique Program.&rdquo;&nbsp;Supporting documents&mdash;affadavits, testimonials, and letters from experts&mdash;detail their&nbsp;</span><span style="font-family: georgia, palatino; font-size: medium;">&ldquo;work,&rdquo;</span><span style="font-family: georgia, palatino; font-size: medium;">&nbsp;codifying each mourner&rsquo;s rhythms and occupations of loss.</span></p> <p class="Body" style="line-height: 26px;"><span style="font-family: georgia, palatino; font-size: medium;">&nbsp;</span></p> <p class="body0" style="line-height: 26px;"><span style="font-family: georgia, palatino; font-size: medium;">&mdash;<a href="http://www.artslant.com/global/artists/show/216750-osman-can-yerebakan?tab=REVIEWS" target="_blank">Osman Can Yerebakan</a></span></p> <p class="body0" style="line-height: 26px;"><span style="font-family: georgia, palatino; font-size: medium;"><em>Osman Can Yerebakan is a writer and curator based in New York.</em></span></p> <p class="Body" style="line-height: 26px;"><span style="font-family: georgia, palatino; font-size: medium;">&nbsp;</span></p> <p class="Body" style="line-height: 26px;"><span style="font-family: georgia, palatino; font-size: x-small;">(Image at top:&nbsp;Taryn Simon, Installation view of&nbsp;<em>An Occupation of Loss</em>&nbsp;at the Park Avenue Armory, September 13&ndash;25, 2016. Photo: Naho Kubota)</span></p> Mon, 19 Sep 2016 16:51:56 +0000 http://www.artslant.com/trn/Articles/list http://www.artslant.com/trn/Articles/list Live Uncertainty: Impressions from São Paulo Bienal <p style="line-height: 26px;"><span style="font-family: georgia, palatino; font-size: medium;">As I walked along the winding path of Parque Ibirapuera toward the S&atilde;o Paulo Bienal entrance, I thought about how the impeachment decision, which ousted Brazil&rsquo;s first female president, Dilma Rousseff, was finalized a few days prior. When the decision came down, I was with a group of artists during a residency. We spent ten days together in Zone Leste, the east zone in the periphery, away from the bustling city center. One of us had gone out the night before and reported that there were protests in the streets, blocking traffic. The day the bienal opened to the public, September 7, Independence Day in Brazil, I had the dull thumping of helicopter wings circling the city&rsquo;s central historic district as a late evening digestif.</span></p> <p style="line-height: 26px;"><span style="font-family: georgia, palatino; font-size: medium;">In their opening essay for the 32nd S&atilde;o Paulo Bienal, </span><em style="font-family: georgia, palatino; font-size: medium;">Incerteza Viva (Live Uncertainty)</em><span style="font-family: georgia, palatino; font-size: medium;">, the curators write, &ldquo;While stability is understood as a remedy against anxiety, uncertainty is generally avoided or denied... Historically, art has insisted on vocabularies that allow for fiction and otherness, and it dwells on the incapacity of existing means to describe the systems we are part of...&rdquo;&nbsp;The Minister of Culture echoed this point, commenting that art allows us to break indifference and can stimulate critical reflection on our lives and the world, that artists and arts practice allow us to imagine different realities and scenarios beyond what we may have believed to be possible. It is true, as the curators write, that perhaps we need this bienal now more than ever.</span></p> <p style="line-height: 26px;"><span style="font-family: georgia, palatino; font-size: medium;">Shortly after his interim term began in May, President Michel Temer tried to implement a number of austerity measures that included eliminating or consolidating positions and support services for arts and culture in Brazil. The people protested loudly, and he relented, but now that he&rsquo;s officially president this lingering threat of conservatism is more palpable: Temer has free reign to do what he will. What does it mean that more than half of the artists featured in the 32nd edition are women, many from the global south rather than north, yet there are currently no women leaders in the cabinet, let alone people of color? I don&rsquo;t know, but the political climate gave the artists and works I was drawn to increased gravitas and meaning.</span></p> <p style="line-height: 26px;"><img src="http://dbprng00ikc2j.cloudfront.net/userimages/32120/1dkh/20160916085336-FBSP_34255_32BSP_160907_TB_049.jpg" alt="" /></p> <p style="line-height: 26px; text-align: center;"><span style="font-size: x-small;"><span style="font-family: georgia, palatino;">Pope.L, Performance at the 32nd S&atilde;o Paulo Bienal,&nbsp;<em>Incerteza Viva</em>, 2016. Photo:&nbsp;</span><span style="font-family: georgia, palatino;">Tiago Baccarin/Estúdio Garagem/ Fundação Bienal de São Paulo</span></span></p> <p style="line-height: 26px; text-align: center;"><span style="font-size: x-small;"><span style="font-family: georgia, palatino;">&nbsp;</span></span></p> <p style="line-height: 26px;"><span style="font-family: georgia, palatino; font-size: medium;">Pope.L <a href="http://www.artslant.com/la/articles/show/44350" target="_blank">creates</a>&nbsp;performances, installations, drawings, paintings, and sculptures highlighting social inequality, tempered with humor and irony. For the bienal, he created a performance circuit where participants navigate areas of the city center with deep socioeconomic divides. Although S&atilde;o Paulo considers itself a cosmopolitan city, its class divides remain rigid, and the demarcation between rich and poor is not just theoretical, but often visible. Homeless people build camps on the sidewalks and put up shelters in public squares. One of the streets on this route was the Anhangaba&uacute;, a place with a deep history of cultural activity and activism. Its public square&mdash;a victim of repeated real estate speculation&mdash;is now primarily used as a gathering space, but the people who reside in the surrounding community continue to fight against gentrification. Pope.L&rsquo;s action through some of the most contested parts of the city center highlighted divisions that may only increase in the current political environment.</span></p> <p style="line-height: 26px;"><span style="font-family: georgia, palatino; font-size: medium;"><img src="http://dbprng00ikc2j.cloudfront.net/userimages/32120/1dkh/20160916090842-FBSP_27340_32BSP_CarlosMotta_CATALOGO_361.JPG" alt="" /></span></p> <p style="line-height: 26px; text-align: center;"><span style="font-family: georgia, palatino; font-size: x-small;">Carlos Motta,&nbsp;<em>Towards a Homoerotic Historiography #1</em>, 2013, Gold washed silver figures, 1.5 &times; 1 &times; 0.5 cm. <br />Courtesy of the artist and&nbsp;Fundação Bienal de São Paulo</span></p> <p style="line-height: 26px; text-align: center;"><span style="font-family: georgia, palatino; font-size: x-small;">&nbsp;</span></p> <p style="line-height: 26px;"><span style="font-family: georgia, palatino; font-size: medium;">Walking along the streets of Zona Leste one day, a friend pointed out a door to a religious space, likely for Umbanda, a syncretic religion similar to Candombl&eacute; practiced by some brasileiros. Another friend told stories of how he had recently began incorporating the Yoruba Orisha, Eshu, into his performance work. My friends spoke casually about their faith, but their embrace of African and indigenous religious practices is significant: Brazil is a country heavily influenced by Catholicism, a legacy of colonization. Carlos Motta&rsquo;s <em>Towards a Homoerotic Historiography </em>(2013&ndash;14) addresses this issue by allowing us to imagine new ways of being not colored by colonialism. The installation, consisting of tiny figures in various states of intimacy behind wall cubbies in a darkened room suggests that different forms of relationship, intimacy, gender identity, and sexuality were repressed through colonialism&rsquo;s use of Christianity as a moralizing weapon of submission. Motta&rsquo;s installation seeks to reveal and question the things we may have been told to loathe about ourselves.</span></p> <p style="line-height: 26px;"><span style="font-family: georgia, palatino; font-size: medium;"><img src="http://dbprng00ikc2j.cloudfront.net/userimages/32120/1dkh/20160916091341-IMG_1105.JPG" alt="" /></span></p> <p style="line-height: 26px; text-align: center;"><span style="font-family: georgia, palatino; font-size: x-small;">Vivian Caccuri,&nbsp;<em>TabomBass</em>, 2016,&nbsp;Subwoofers, amplifiers, software, wood, candles and stereo audio. Support: Dubversão Sistema de Som. <br />Commissioned by the Fundação Bienal de São Paulo for the 32nd Bienal. Presentation produced in partnership with Sesc&shy;SP. Photo: Lee Ann Norman</span></p> <p style="line-height: 26px; text-align: center;"><span style="font-family: georgia, palatino; font-size: x-small;">&nbsp;</span></p> <p style="line-height: 26px;"><span style="font-family: georgia, palatino; font-size: medium;">On my first day in the city, I asked a friend the proper way to respond to the common greeting, &ldquo;<em>Tudo Bom?</em>&rdquo; in Portuguese. He told me to say, &ldquo;<em>Ta Bom</em>,&rdquo; which approximately translates to &ldquo;I&rsquo;m okay.&rdquo; In the following days, my friends and I were asked to think about the sound of freedom and the sound of revolution. Vivian Caccuri&rsquo;s installation, <em>TabomBass</em> (2016) reminds me of the stacked speakers of sound systems at parties; in front of them, she places three, evenly spaced, lit tapers, alluding to the power and affect inherent in sound. Caccuri&rsquo;s speakers are functional, blasting a vibrating, bone rattling sound piece, made in collaboration with Brazilian and Ghanaian musicians, at various intervals. The work is based in her research on Brazil&rsquo;s largest and most significant slave revolt in Salvador, Bahia. Leaders of the 19th century uprising who weren&rsquo;t executed or flogged were deported to Africa. Accra received a large portion of them. Since the people did not know the local language, they responded &ldquo;Ta bom,&rdquo; to everything anyone said to them, and to this day, their descents are known as &ldquo;Tabom.&rdquo; Caccuri&rsquo;s work often engages music, architecture, and the body to tease out new relationships between the past and present. <em>TabomBass </em>shows how people who long for freedom can be innovative in the ways they make their liberatory space manifest.</span><span style="font-family: georgia, palatino; font-size: medium;">&nbsp;</span></p> <p style="line-height: 26px;"><span style="font-family: georgia, palatino; font-size: medium;">One day, in the middle of a moment of deep sharing at the residency, someone made a joke to break the tension. The Portuguese speakers laughed, and an English speaker, intuiting what happened, challenged the group to stay in the place of discomfort a little longer because that is usually where personal growth and transformation begins. One of the multi-lingual brasileiros explained that Brazilians laugh and joke a lot, that humor is perhaps a curative, as in, <em>we laugh so we do not cry</em>. This country is resilient; the ability of brasileiros to survive, thrive, create, live, laugh, and love in precarity&mdash;economic recession, repressive governing regimes, constricting moral and social codes and shifting identity politics&mdash;creates the perfect backdrop for a bienal exploring uncertainty, ambiguity, and change. Brazil once again finds itself at a critical moment: things can go really badly or something liberatory and open can happen. </span></p> <p style="line-height: 26px;"><span style="font-family: georgia, palatino; font-size: medium;"><em>Incerteza Viva</em>&nbsp;is filled with artworks visualizing humanity&rsquo;s potential and posing questions about how we might get there. Despite all of the uncertainty, I think this suggests we&rsquo;ll all be okay.</span></p> <p style="line-height: 26px;"><span style="font-family: georgia, palatino; font-size: medium;">&nbsp;</span></p> <p style="line-height: 26px;"><span style="font-family: georgia, palatino; font-size: medium;">&mdash;<a href="http://www.artslant.com/global/artists/show/124946-lee-ann-norman?tab=REVIEWS" target="_blank">Lee Ann Norman</a></span></p> <p style="line-height: 26px;"><span style="font-family: georgia, palatino; font-size: medium;">&nbsp;</span></p> <p style="line-height: 26px;"><span style="font-family: georgia, palatino; font-size: x-small;">(Image at top:&nbsp;Pope.L, Performance at the&nbsp;32nd S&atilde;o Paulo Bienal,&nbsp;<em>Incerteza Viva</em>, 2016. Photo:&nbsp;Tiago Baccarin/Estúdio Garagem/ Fundação Bienal de São Paulo)&nbsp;</span></p> Tue, 20 Sep 2016 02:53:51 +0000 http://www.artslant.com/trn/Articles/list http://www.artslant.com/trn/Articles/list What Can LARPing Bring to an Art World Obsessed with the Present? <p style="line-height: 26px;"><span style="font-family: georgia, palatino; font-size: medium;"><strong>The problem of presence</strong><br /></span></p> <p style="line-height: 26px;"><span style="font-family: georgia, palatino; font-size: medium;">Presence wracks the contemporary artist&rsquo;s existence. Take, for instance, Marina Abramovic&rsquo;s 2010 retrospective,<a href="http://www.moma.org/calendar/exhibitions/964?locale=en" target="_blank"> <em>The Artist Is Present</em></a>, during which the artist famously sat in the gallery for the entirety of her exhibition&rsquo;s run at MoMA. In her essay &ldquo;&lsquo;The Artist is Present&rsquo;: Artistic Re-enactments and the Impossibility of Presence,&rdquo; critic Amelia Jones argues that the very fact that Abramovic was there, in the live act, &ldquo;destroys presence (or makes the impossibility of its being secured evident).&rdquo;<a title="" href="#_ftn1">[1]</a> But what about the audience? Is the fact that they are also there, bearing witness to the live act a destruction of presence?</span></p> <p style="line-height: 26px;"><span style="font-family: georgia, palatino; font-size: medium;"><em>Level Five</em> (2010&ndash;ongoing), by Berlin-based artist Brody Condon, challenges the structural relationships between audience and performer, testing the artistic impulse to be live. Condon&rsquo;s tactic is Live Action Role Playing, or LARPing, in which the performance itself is distributed across non-actor &ldquo;participants&rdquo; playing within a constructed scenario. LARPing hinges on participants&rsquo;, not audiences&rsquo;, very presence. It is not reality, but space where temporary rules are set; players need not believe in their acting, and their subjectivities as both character and themselves can mix. In an art world obsessed with presence, can LARPing open up new possibilities, shifting the meaning of presence and theater in performance art?</span></p> <p style="line-height: 26px;"><span style="font-family: georgia, palatino; font-size: medium;"><img src="http://dbprng00ikc2j.cloudfront.net/userimages/32120/1dkh/20160915150255-5035442972_46444fc37b_b.jpg" alt="" /></span></p> <p style="line-height: 26px; text-align: center;"><span style="font-family: georgia, palatino; font-size: x-small;">Brody Condon,&nbsp;<em>Level Five</em>, 2010&ndash;ongoing. Courtesy of the artist</span></p> <p style="line-height: 26px; text-align: center;"><span style="font-family: georgia, palatino; font-size: x-small;">&nbsp;</span></p> <p style="line-height: 26px;"><span style="font-family: georgia, palatino; font-size: medium;">In contemporary performance scholarship, presence often translates to a synonym for &ldquo;Present&rdquo; (temporal), or in the case of Jones&rsquo; aforementioned criticism, &ldquo;live.&rdquo; We seem to have a proclivity for the live, to be in front of bodies who are performing the very &ldquo;contemporary&rdquo; so pervasive in categorizing art today. As Michael Fried writes at the end of his essay against minimalism, &ldquo;presentness is grace.&rdquo; He was talking about a type of subliminal experience one experiences in front of the object that unfolds, not over time, but in a live manner. There is something in Fried&rsquo;s &ldquo;Art and Objecthood,&rdquo; written in 1967, that we are still living out, perhaps translating, and of course bastardizing.</span></p> <p style="line-height: 26px;"><span style="font-family: georgia, palatino; font-size: medium;">In art&rsquo;s social and relational turn, social projects often get ridiculed precisely because of the paradox of being live, always present. Amelia Jones argued that Abramovic&rsquo;s obsession with photo documentation ultimately destroys her ability to be present within the space. Striking a different tone, Jacques Ranci&egrave;re criticizes participatory art&rsquo;s political tendencies as resembling an anti-comedy of errors, referencing the genre where 18th century audiences watched characters act out moral woes.<a title="" href="#_ftn2">[2]</a> Political art has developed a sort of fetish for live action: being present or live, has become a default aesthetic when it comes to representing collective artistic labor, with many artists making visible their play behind the activity of their works.</span></p> <p style="line-height: 26px;"><strong><span style="font-family: georgia, palatino; font-size: medium;">&nbsp;</span></strong></p> <p style="line-height: 26px;"><strong><span style="font-family: georgia, palatino; font-size: medium;">Making LARP an art form</span></strong></p> <p style="line-height: 26px;"><span style="font-family: georgia, palatino; font-size: medium;">Thus, we approach the tipping point that many artists, performers, and musicians have been toying with: the fine line between play and acting, and the distribution of intellectual and performative labor as it shifts from the director to performers to audience members.</span></p> <p style="line-height: 26px;"><span style="font-family: georgia, palatino; font-size: medium;">LARP, like Condon&rsquo;s <em>Level Five</em>, is one approach artists use. LARPing is an informal tactic, something like a rehearsal, where communities take on characters and then imagine themselves in these roles. In 1999, with the aim of developing LARP as &ldquo;a medium and a form of art,&rdquo; Scandinavian LARPing communities developed a manifesto called<a href="http://www.hopesandfears.com/hopes/culture/film/168793-dogma-99-larpers" target="_blank"> Dogma 99</a>, accompanied by a ten-point &ldquo;<a href="http://fate.laiv.org/dogme99/en/dogma99_en.htm#1" target="_blank">Vow of Chastity</a>.&rdquo; Inspired by Lars von Trier&rsquo;s filmmaking manifesto,<a href="https://en.wikipedia.org/wiki/Dogme_95" target="_blank"> Dogme 95</a>, which insisted on minimal lighting, on-set shooting, and no post-production, the vow laid out rules for LARP playwrights and organizers to follow. &nbsp;</span></p> <p style="line-height: 26px;"><span style="font-family: georgia, palatino; font-size: medium;">What is often considered a recreational activity for genre fandoms&mdash;think, Harry Potter or <em>Dungeon and Dragons</em>&mdash;is, for these practitioners, an exploratory dramatic practice working toward radical presence and dismantling barriers between actors and audience. Equality and transparency are paramount; no characters have &ldquo;supporting roles&rdquo; (Vow #3) and playwrights may not influence the event after it has begun (Vow #5). Furthermore, LARPing is not gender restrictive: men can role play women and vice versa. There is an insistence on this mutability. LARPing is often like a utopian construct, for it allows for a dual subject to take hold (character and subject) instead of the typical split subject, which is often the case in acting where actors &ldquo;become&rdquo; the characters they are acting.</span></p> <p style="line-height: 26px;"><span style="font-family: georgia, palatino; font-size: medium;">&nbsp;</span></p> <p style="text-align: center;"><iframe src="https://player.vimeo.com/video/179954615?title=0&amp;byline=0&amp;portrait=0" frameborder="0" width="700" height="394"></iframe></p> <p style="text-align: center;"><span style="font-family: georgia, palatino; font-size: x-small;"><a href="https://vimeo.com/179954615" target="_blank">Level Five Trailer</a> from <a href="https://vimeo.com/user4169965" target="_blank">Brody Condon</a><em style="line-height: 26px; text-align: left;"><strong><br /></strong></em></span></p> <p style="text-align: center;">&nbsp;</p> <p style="line-height: 26px;"><strong><span style="font-family: georgia, palatino; font-size: medium;">Learning about the present by playing the past</span></strong></p> <p style="line-height: 26px;"><span style="font-family: georgia, palatino; font-size: medium;">Condon&rsquo;s <em>Level Five</em> was first performed in 2010 at the Hammer Museum in Los Angeles, and will be <a href="http://bb9.berlinbiennale.de/event/level-five-9-17/" target="_blank">staged this week</a> at the 9th Berlin Biennale. The scenario in this LARP is modeled after 1970s seminars on self-actualization, like the <a href="https://en.wikipedia.org/wiki/Erhard_Seminars_Training" target="_blank">Erhard Seminars Training</a> courses, which were documented in Adam Curtis&rsquo; documentary<a href="https://en.wikipedia.org/wiki/The_Century_of_the_Self" target="_blank"> series <em>Century of the Self</em></a>. Hundreds of thousands of ordinary people gathered to &ldquo;free themselves from the restraints of contemporary society,&rdquo; as Condon describes these events. Attended by the original neoliberal counter-culturists, they were the precursors for modern day self-improvement seminars, which are now appropriated by late capitalism&mdash;e.g., the<a href="http://www.landmarkworldwide.com/" target="_blank"> Landmark Forum</a>, marketed worldwide for &ldquo;personal and professional growth,&rdquo; and business retreats in the woods, where companies encourage employees to bond by doing activities like trust falls and rope courses.</span></p> <p style="line-height: 26px;"><span style="font-family: georgia, palatino; font-size: medium;">Condon&rsquo;s LARP becomes even more politicized when framed by the Berlin Biennale. In his studio in early June, Condon explained that both he and the collective DIS&mdash;the Biennale curators&mdash;are of the generation that is living out the neoliberal promise of hyper-individualization. Unfortunately, the future&mdash;our present&mdash;isn&rsquo;t what was projected, but something like a consumer hell. Condon&rsquo;s work thus reaches back to a time when this neoliberal mentality was being created; the self-actualization seminars taught people &ldquo;it was ok to be selfish.&rdquo; Countercultures of the 1960s and 70s are rarely questioned or held accountable for today&rsquo;s hyper-individualistic mentality. What can be learned from revisiting these origins in the present?</span></p> <p style="line-height: 26px;"><span style="font-family: georgia, palatino; font-size: medium;">Condon assembles ordinary people and facilitators through an open call. These participants&mdash;who are not audience members, though BB9 visitors will be able to observe the closed performance from outside the room&mdash;get assigned a character, or a role. There are seminar leaders, who act as paternal psychoanalysis figures, instructing participants into relaxation and ideological awakenings. &nbsp;&nbsp;</span></p> <p style="line-height: 26px;"><strong><span style="font-family: georgia, palatino; font-size: medium;">&nbsp;</span></strong></p> <p style="line-height: 26px;"><strong><span style="font-family: georgia, palatino; font-size: medium;">The dual subject: Between a player and character</span></strong></p> <p style="line-height: 26px;"><span style="font-family: georgia, palatino; font-size: medium;">Instead of acting, which pushes subjects to &ldquo;get out of themselves,&rdquo; these performances counter this mantra. Instead, the players bringing something of their intra-subjective residue to the LARP, which makes Condon&rsquo;s work of a very different genre than normal theatre. For instance, a woman acts as a suburban mother who is burned out and suffering a psychosis. The participant is then instructed to role play certain aspects of her persona, ad-libbing at times.</span></p> <p style="line-height: 26px;"><span style="font-family: georgia, palatino; font-size: medium;"><a href="http://www.eastofborneo.org/articles/character-development-brody-condons-level5-and-the-avant-larp-of-becoming-self" target="_blank">Says Condon</a>: &ldquo;You can immerse yourself within a temporary commune, but you don&rsquo;t have to believe in it. The other ones are limited by reality in a way.&rdquo; This reality factor is crucial, as LARPing is something where temporary rules are set and observed for a small period of time. It is not reality, but a sort of placelessness, a utopia.</span></p> <p style="line-height: 26px;"><span style="font-family: georgia, palatino; font-size: medium;">In his recent book, <em>The Exform,</em> Nicholas Bourriaud reminds us that &ldquo;Althusserian materialism rests on the certitude that reality has no double: everything is right there, before our eyes. The struggles are concrete, the forces at work stand in clear array.&rdquo;<a title="" href="#_ftn3">[3]</a> This notion is echoed by the &ldquo;reality&rdquo; of the LARP (Vow #8: &ldquo;No object shall be used to represent another object&rdquo;), materially, and emotionally. For Condon, LARPing doesn&rsquo;t function so much as an escape into the past, but as a form of open psychoanalysis, art-working the repressed and bringing pasts&mdash;which are not past, but still very much present&mdash;to light.</span></p> <p style="line-height: 26px;"><span style="font-family: georgia, palatino; font-size: medium;">&nbsp;</span></p> <p style="line-height: 26px; text-align: center;"><span style="font-family: georgia, palatino; font-size: medium;"><iframe src="https://www.youtube.com/embed/3gRgaXib0Sc?rel=0&amp;controls=0&amp;showinfo=0" frameborder="0" width="700" height="394"></iframe></span></p> <p style="line-height: 26px; text-align: center;"><span style="font-family: georgia, palatino; font-size: x-small;">Jeremy Deller and Mike Figgis, Excerpt from&nbsp;<em>The Battle of Orgreave</em>. Footage: Mike Figgis</span></p> <p style="line-height: 26px; text-align: center;"><span style="font-family: georgia, palatino; font-size: x-small;">&nbsp;</span></p> <p style="line-height: 26px;"><span style="font-family: georgia, palatino; font-size: medium;">Condon explained to me how he began his interests in LARPing communities. After producing net art, he decided to take his work into real life as, perhaps, a way to occupy some type of political sphere that approached the social and personal physically. Jeremy Deller, whose<a href="http://www.jeremydeller.org/TheBattleOfOrgreave/TheBattleOfOrgreave_Video.php" target="_blank"> <em>Battle of Orgreave</em></a>&nbsp;(2001) shares an affinity with Live Action Role Playing, also made this performative turn. Deller used actors and non-actors to reenact the bloody confrontation between the police and picketers at a British Steel Corporation plant in Thatcher-era Britain. Deller&rsquo;s work has a cathartic function: the people in the project actually experienced the period in the 80s&mdash;200 of more than 800 re-enactors were former miners&mdash;and their involvement in the reenactment at once served personal, political, and artistic agendas. The 2001 reenactment was filmed by Mike Figgis for Artangel Media and Channel 4, and the final film included documentary photography and testimonies about the original battle.</span></p> <p style="line-height: 26px;"><strong><span style="font-family: georgia, palatino; font-size: medium;">&nbsp;</span></strong></p> <p style="line-height: 26px;"><strong><span style="font-family: georgia, palatino; font-size: medium;">The residue of the self</span></strong></p> <p style="line-height: 26px;"><span style="font-family: georgia, palatino; font-size: medium;">LARP blurs the boundaries between what is actual labor and what is immaterial, affective world. The actors are often not paid but gain an experience, offering up their own subject to the work. In a <em>Frieze</em> feature article &ldquo;<a href="https://frieze.com/article/stage-craft" target="_blank">Stage Craft</a>,&rdquo; Matthew McLean and Stephen Squibb consider the work of Sarah Kane as an example of theatre performance, which uses &ldquo;behaviors that can never really be acted.&rdquo; Instead, to play her plays, the subjects have to offer up themselves, consequently sharing their subjectivity in the process.</span></p> <p style="line-height: 26px;"><span style="font-family: georgia, palatino; font-size: medium;"><img style="display: block; margin-left: auto; margin-right: auto;" src="http://dbprng00ikc2j.cloudfront.net/userimages/32120/1dkh/20160915144356-LAWBF1.jpg" alt="" /></span></p> <p style="line-height: 26px; text-align: center;"><span style="font-family: georgia, palatino; font-size: x-small;">Like a Wild Beast's Fur, Performance of Sarah Kane's&nbsp;<em>PSYCHOSIS 4:48</em>, Berghain Kantine. Courtesy of LAWBF. &copy; Marijana Verhoef, 2015</span></p> <p style="line-height: 26px; text-align: center;"><span style="font-family: georgia, palatino; font-size: x-small;">&nbsp;</span></p> <p style="line-height: 26px;"><span style="font-family: georgia, palatino; font-size: medium;">Kane was part of<a href="http://www.inyerfacetheatre.com/main.html" target="_blank"> In-Yer-Face Theatre</a>, a movement in the UK that often dealt with psychological themes and pushed the emotional limits of the actors, almost to neurosis. <a href="http://www.lawbf.com/" target="_blank">Like a Wild Beast&rsquo;s Fur</a> recently staged a performance of <em>PSYCHOSIS 4:48</em>, Kane&rsquo;s last play, which had no character distinctions, no set cues, and no staging. For the 2015 production at the Berghain Kantine, the collective split the narration between a young woman, Jasna Fritzi Bauer, and the 77-year-old actor Volker Spengler, making a sort of dual subject split between two genders and generations.</span></p> <p style="line-height: 26px;"><span style="font-family: georgia, palatino; font-size: medium;">Standing, speaking the exasperating text, which was a meditation upon dying, depression, and suicide, Bauer came up against her body&rsquo;s natural limits. One could visibly see her struggle to speak the lines, retaining something of her own persona. Spengler was instead lying in a bed. It was unclear if he was delivering lines about death, or if he was also dying himself. He was acting, as Sarah Kane. Yet in his old male body, he was also performing an aspect of himself, and this residue seeped through the lines. He appeared as the ageing theatre star on his deathbed. One got the sense that there was an active transference happening between the two actors, the young girl and the old man.</span></p> <p style="line-height: 26px;"><span style="font-family: georgia, palatino; font-size: medium;"><img src="http://dbprng00ikc2j.cloudfront.net/userimages/32120/1dkh/20160915144859-99_mgagebeautypart1photobyiandouglasd3s7068_v2.jpg" alt="" /></span></p> <p style="line-height: 26px; text-align: center;"><span style="font-family: georgia, palatino; font-size: x-small;">Miguel Gutierrez, <em>Age &amp; Beauty Part 1: Mid-Career Artist/Suicide Note or&amp;:-/</em>, 2014, Performed by Miguel Gutierrez and Mickey Mahar.<br /></span><span style="font-family: georgia, palatino; font-size: x-small;">Courtesy of the artist. Photo: Ian Douglas</span></p> <p style="line-height: 26px;"><span style="font-family: georgia, palatino; font-size: medium;">&nbsp;</span></p> <p style="line-height: 26px;"><span style="font-family: georgia, palatino; font-size: medium;">Miguel Gutierrez&rsquo;s <a href="http://www.miguelgutierrez.org/pieces/age--beauty-part-1/" target="_blank"><em>Age &amp; Beauty Part 1: Mid-Career Artist/Suicide Note or&amp;:-/</em></a> (2014) confronts the limits of the choreographer&rsquo;s aging body, paired with that of the younger dancer Mickey Mahar. Within this piece, Gutierrez plays with the suspension of disbelief, creating a type of endurance performance that talks about his aging body but also the aging body of a younger, queer male dancer. The performers&rsquo; bodies, which are highly skilled, come up against the limits of their training and mortality. The subjects&rsquo; reality meets the performed.</span></p> <p style="line-height: 26px;"><span style="font-family: georgia, palatino; font-size: medium;">LARPing in the spheres of everyday life is typically imagined as an escape from reality; it&rsquo;s a retreat, perhaps to build a utopia. However, it is utilized in art with an opposite agenda: not as an escape, but as a tactic to access the real that is often repressed or not dealt with. This is the case with the hanging cultural referent of the entire Berlin Biennale, which is, as Condon&rsquo;s work seems to posit, the neoliberal past conditioning that has given us our present moment. Through the live, LARP event, Condon engages this past in the present; he facilitates a layered environment of critique, play, and therapy to develop between the collapsed categories of audience/participants&mdash;a type of layering that is different than what we see in typical theater. The audience doesn&rsquo;t see themselves in the mirror of virtues, but instead present within their own bodies and still very much connected to their own subjectivity.</span></p> <p style="line-height: 26px;"><em style="font-family: georgia, palatino; font-size: medium;">Brody Condon&rsquo;s&nbsp;</em><a href="http://bb9.berlinbiennale.de/event/level-five-9-17/" target="_blank"><span style="font-family: georgia, palatino; font-size: medium;">Level 5</span></a><em style="font-family: georgia, palatino; font-size: medium;">&nbsp;will be taking place at the Akademie der K&uuml;nste, September 17</em><em style="font-family: georgia, palatino; font-size: medium;">&nbsp;and 18.</em></p> <p style="line-height: 26px;"><span style="font-family: georgia, palatino; font-size: medium;">&nbsp;</span></p> <p style="line-height: 26px;"><span style="font-family: georgia, palatino; font-size: medium;">&mdash;<a href="http://www.artslant.com/global/artists/show/429088-vanessa-gravenor?tab=REVIEWS" target="_blank">Vanessa Gravenor</a></span></p> <p style="line-height: 26px;"><em><span style="font-family: georgia, palatino; font-size: medium;">Vanessa Gravenor is an artist and critic living in Berlin.</span><span style="font-family: georgia, palatino; font-size: medium;">&nbsp;She is a DAAD (Deutscher&nbsp;</span></em><em><span style="font-family: georgia, palatino; font-size: medium;">Akademisher Austausch Dienst) scholar from October 2015 to December 2016 and a&nbsp;</span></em><em><span style="font-family: georgia, palatino; font-size: medium;">candidate for a Diploma in the class of Hito Steyerl at Universit&auml;t der Künste, Berlin.</span></em></p> <p style="line-height: 26px;"><span style="font-family: georgia, palatino; font-size: medium;">&nbsp;</span></p> <div style="line-height: 26px;"><hr style="line-height: 26px;" align="left" size="1" width="33%" /> <div style="line-height: 26px;"> <p style="line-height: 26px;"><span style="font-family: georgia, palatino; font-size: small;"><a title="" href="#_ftnref1">[1]</a> Jones, Amelia. "&ldquo;The Artist Is Present&rdquo;: Artistic Re-enactments and the Impossibility of Presence."&nbsp;<em>TDR/The Drama Review</em>&nbsp;55, no. 1 (2011): 16-45.</span></p> </div> <div style="line-height: 26px;"> <p style="line-height: 26px;"><span style="font-family: georgia, palatino; font-size: small;"><a title="" href="#_ftnref2">[2]</a> Rancière, Jacques. &ldquo;The Parodoxes of Political Art,&rdquo; in&nbsp;<em>Dissensus: On Politics and Aesthetics</em>. Translated by Steve Corcoran. London: Continuum, 2010.</span></p> </div> <div style="line-height: 26px;"> <p style="line-height: 26px;"><span style="font-family: georgia, palatino; font-size: small;"><a title="" href="#_ftnref3">[3]</a> Bourriaud, Nicolas.&nbsp;<em>The Exform</em>. &nbsp;Translated by Erik Butler. London, 2016: Verso Books.</span></p> <p style="line-height: 26px;"><span style="font-family: georgia, palatino; font-size: x-small;">&nbsp;</span></p> <p style="line-height: 26px;"><span style="font-family: georgia, palatino; font-size: x-small;">(Image at top:&nbsp;Brody Condon,&nbsp;<em>Level Five</em>, 2010&ndash;ongoing. Courtesy of the artist)</span></p> </div> </div> Thu, 15 Sep 2016 16:02:18 +0000 http://www.artslant.com/trn/Articles/list http://www.artslant.com/trn/Articles/list The Bergen Assembly: Translating Research into Learning, and Art <p style="line-height: 26px;"><span style="font-family: georgia, palatino; font-size: medium;">An old Norwegian woman in a green and silver Smurf costume, paint smeared on her face, is making chocolate cookies in an underground-bunker-turned-car-park. Standing behind her, contributing to the cookery process, is a parrot-masked performer, stirring the mixture and slapping flour-dusted hands together.</span></p> <p style="line-height: 26px;"><span style="font-family: georgia, palatino; font-size: medium;">It&rsquo;s the haphazard sort of mayhem that Marvin Gaye Chetwynd has become known for producing throughout her career, and which saw her nominated for the Turner Prize in 2012. This particular performance is the second episode of a trilogy, taking place over the course of a year as part of the <a href="http://bergenassembly.no/en/about/" target="_blank">Bergen Assembly</a>, a program of perennial art production and research taking place in the Norwegian harbor city.</span></p> <p style="line-height: 26px;"><span style="font-family: georgia, palatino; font-size: medium;">It all started in 2009, when Bergen hosted its &ldquo;Biennial Conference&rdquo; to consider the biennial format&rsquo;s critical merits and flaws. As a response, the Bergen Assembly was founded with a more constant mode of production in mind. Each edition, of which 2016 is the second iteration, culminates around public programming events every three years. True to the spirit of the original conference, the Assembly is a extensive project, whose mission is as much to question and research new ways of looking at art as it is to present them. The latest edition sees three artistic directors, or &ldquo;convenors&rdquo;&mdash;<a href="http://bergenassembly.no/en/freethought/" target="_blank">freethought</a>, <a href="http://bergenassembly.no/en/praxes/" target="_blank">PRAXES</a>, and <a href="http://bergenassembly.no/en/tarek-atoui/" target="_blank">Tarek Atoui</a>&mdash;each with their own distinct curatorial projects that are artistic rabbit holes in their own right. The aforementioned Marvin Gaye Chetwynd, and Lynda Benglis, for example, were invited to participate by PRAXES. Considering how much she had learned in her work in the previous decade, Chetwynd realized those with forty years more experience would have exponentially more to teach her. The British artist has taken inspiration from the community of elderly artists in Bergen, who helped realize <em>The Cell Group</em>&mdash;a rambling, weird experience that seemed to initiate its audience into a cult or activist cell.</span></p> <p style="line-height: 26px;"><span style="font-family: georgia, palatino; font-size: medium;"><img src="http://dbprng00ikc2j.cloudfront.net/userimages/32120/1dkh/20160912171318-MGCH_The_Cell_Group_Episode_2_04.jpg" alt="" /></span></p> <p style="line-height: 26px; text-align: center;"><span style="font-family: georgia, palatino; font-size: x-small;">Marvin Gaye Chetwynd, <em>The Cell Group (Episode Two)</em>, Performance at the Bergen Assembly 2016, St. J&oslash;rgens Shelter, Bergen. Photo: Thor Br&oslash;dreskift</span></p> <p style="line-height: 26px; text-align: center;"><span style="font-family: georgia, palatino; font-size: x-small;">&nbsp;</span></p> <p style="line-height: 26px;"><span style="font-family: georgia, palatino; font-size: medium;">In general, the diverse and research-based approach at the Assembly means it can be difficult to draw threads from the different convenors&rsquo; work together into something more than a group of sporadic works. One point that gradually becomes clear, however, is the inspiration and education that the communities of Bergen have provided for new work by artists. As in Marvin Gaye Chetwynd&rsquo;s practice, the notion of learning&mdash;but also teaching, and un-learning&mdash;is a common refrain. It seems that the Assembly&rsquo;s attitude of ongoing research has infected its artists and participants: given the opportunity to create something beyond the time constraints of a traditional biennial, many of the artists&rsquo; projects engage with the local community in much more permanent ways.</span></p> <p style="line-height: 26px;"><span style="font-family: georgia, palatino; font-size: medium;">For example, the six-person curatorial collective freethought chose to name their section of the Assembly &ldquo;infrastructure&rdquo; and consider the impact this voluminous, yet imperative, concept has on contemporary life. This loose collective of curators and academics has worked collaboratively on a project around the fire station in Bergen&mdash;a contentious site in the Norwegian city, which has burned down many times over its history, including twice in the last century. Given this background and the fact that most of the houses in Bergen are still made of wood, the older firefighters have been petitioning for the old fire station to be turned into a fire museum, for both educational and archival purposes. Freethought have built on this activism and commissioned a research archive, Isa Rosenberger&rsquo;s <em>The Museum of Burning Questions</em>, which documents the firefighters&rsquo; concerns about the city and its needs through video and texts in the Kunsthalle Bergen. Meanwhile the old fire station itself has been turned into a caf&eacute;, named after and inspired by the Partisan Coffee House, a locus for idea exchange run by a group of intellectuals and artists from 1958-62 in London.</span></p> <p style="line-height: 26px; text-align: center;"><span style="font-family: georgia, palatino; font-size: medium;"><img src="http://dbprng00ikc2j.cloudfront.net/userimages/32120/1dkh/20160912171647-Bergen_Fire_Station.jpg" alt="" height="320" /><img src="http://dbprng00ikc2j.cloudfront.net/userimages/32120/1dkh/20160912171710-Shippingandtheshipped_01.jpg" alt="" height="320" /></span></p> <p style="line-height: 26px; text-align: center;"><span style="font-size: x-small;"><span style="font-family: georgia, palatino;">(left)&nbsp;</span><span style="font-family: georgia, palatino;">Bergen Fire Station, Bergen Assembly 2016 venue. Photo: Linn Heidi Stokkedal<br />(right)&nbsp;Ranjit Kandalgaonkar, <em>Bulker: In the wake of Shipping Infrastructure</em>, <em>Shipping and the Shipped</em>, 2015, Giclee print on canvas. Courtesy of the artist</span></span></p> <p style="line-height: 26px;"><span style="font-family: georgia, palatino; font-size: medium;">&nbsp;</span></p> <p style="line-height: 26px;"><span style="font-family: georgia, palatino; font-size: medium;">The accompanying exhibition takes several different project-based themes as starting points: Norway&rsquo;s oil production, its history in the shipping industry, and Iran&rsquo;s utopian Shiraz-Persepolis festival of 1960/70s. Much of the actual material exhibited is ephemera&mdash;for example, correspondence from the figures surrounding the founding of the Partisan Coffee House and its historical maintenance. This idealistic moment is also reflected in the caf&eacute; that the curators have instigated as a space for knowledge exchange.</span></p> <p style="line-height: 26px;"><span style="font-family: georgia, palatino; font-size: medium;">In this spirit of discovery and learning, freethought seeks to bring the concerns of the academy to a more general audience, taking these research projects out of the ivory towers and into the streets. It&rsquo;s a lot to attempt, and the results in Bergen sometimes reveal the limitations of representing research-based practices. While academics often think they are making things accessible to everyone, a bubble often encloses these concepts so fully that it&rsquo;s hard for them to tell just how much effort this requires on the part of their audience. The sheer quantity of information required to tell the researchers&rsquo; story&mdash;museum-style tables of documents and stills from documentaries&mdash;means there&rsquo;s a lot of quiet parsing to be done by the individual.</span></p> <p style="line-height: 26px;"><span style="font-family: georgia, palatino; font-size: medium;">One of the more successful works is a fascinating series of videos, <em>The Anecdoted Archive of Exhibition Lives</em>, which asks talking heads from across the world to talk about an exhibition that shaped them and, often, their work. These glimpses of humanity, of gut feeling and reality, are all the more striking for their academic surroundings.</span></p> <p style="line-height: 26px;"><img src="http://dbprng00ikc2j.cloudfront.net/userimages/32120/1dkh/20160912172842-Atoui_SoundMassageWorkshop1.JPG" alt="" /></p> <p style="line-height: 26px; text-align: center;"><span style="font-family: georgia, palatino; font-size: x-small;">Tarek Atoui,&nbsp;<em>Sound Massage Workshop</em> with Thierry Madiot at Grieg Academy, University of Bergen. Photo: Thor Br&oslash;dreskift</span></p> <p style="line-height: 26px; text-align: center;"><span style="font-family: georgia, palatino; font-size: x-small;">&nbsp;</span></p> <p style="line-height: 26px;"><span style="font-family: georgia, palatino; font-size: medium;">Convenor Tarek Atoui&rsquo;s work <em>WITHIN</em> attempts to bring the work he has done with deaf people in the Middle East during his long-term residency at the Sharjah Art Foundation to the Norwegian coast. Atoui requested designs from sound artists that attempt to imagine how deaf people could best play and listen to music, without using their ears. Traditional efforts in this arena have focused on amplifying the sounds of phonocentric music, whereas Atoui&rsquo;s instruments allow musicians&mdash;deaf or hearing&mdash;to play in a way that caters to the visual and tactile ways that sound can be perceived without using one&rsquo;s ears. These instruments, with evocative names such as &ldquo;33 Soft Cells&rdquo; and &ldquo;The Sound Massage Kit&rdquo; will be activated through a series of performances in the month of September, including the opening night&rsquo;s performance of a piece composed by electronic music legend Pauline Oliveros.</span></p> <p style="line-height: 26px;"><span style="font-family: georgia, palatino; font-size: medium;">The development of the instruments was all based around exploration with deaf students in the local school, and their input shaped the design of the instruments. In one of the most exciting moments of the whole Assembly, several deaf practitioners performed the instruments. Just as in freethought&rsquo;s case, involving the local community is where Atoui&rsquo;s project becomes most fruitful. Turnout on the opening night&rsquo;s performance certainly reflected that. At the end, the entire audience applauded using sign language: quivering their open palms in front of them.</span></p> <p style="line-height: 26px;"><span style="font-family: georgia, palatino; font-size: medium;"><img src="http://dbprng00ikc2j.cloudfront.net/userimages/32120/1dkh/20160912173322-MGCH_The_Cell_Group_Episode_2_11.jpg" alt="" /></span></p> <p style="line-height: 26px; text-align: center;"><span style="font-family: georgia, palatino; font-size: x-small;">Marvin Gaye Chetwynd,&nbsp;<em>The Cell Group (Episode Two)</em>, Performance at the Bergen Assembly 2016, St. J&oslash;rgens Shelter, Bergen. Photo: Thor Br&oslash;dreskift</span></p> <p style="line-height: 26px; text-align: center;"><span style="font-family: georgia, palatino; font-size: x-small;">&nbsp;</span></p> <p style="line-height: 26px;"><span style="font-family: georgia, palatino; font-size: medium;">There are many different ways that people learn and come to understand things for themselves. But in order to gain a full understanding we all need to connect knowledge with experience. <em>Feeling</em> the learning, whether that&rsquo;s visual, tactile, or emotional, is what makes education sparkle into being. At this Bergen Assembly, artists have learned from Bergen&rsquo;s generous elders, students, and its buzzing creative community. The next, critical step is getting that learning across to their audience. While lengthy research and in-depth analysis allows artists and curators to get to the bottom of their craft, it asks a lot from an audience. Sometimes, we need the spectacle.</span></p> <p style="line-height: 26px;"><span style="font-family: georgia, palatino; font-size: medium;">&nbsp;</span></p> <p style="line-height: 26px;"><span style="font-family: georgia, palatino; font-size: medium;">&mdash;<a href="http://www.artslant.com/global/artists/show/436838-josie-thaddeus-johns?tab=REVIEWS">Josie Thaddeus-Johns</a></span></p> <p style="line-height: 26px;"><span style="font-family: georgia, palatino; font-size: medium;"><em>Josie Thaddeus-Johns is a Berlin-based writer and editor from London, interested in art, identity, gender and the internet. She is currently working on her first novel.</em></span></p> <p style="line-height: 26px;"><span style="font-family: georgia, palatino; font-size: medium;">&nbsp;</span></p> <p style="line-height: 26px;"><span style="font-family: georgia, palatino; font-size: x-small;">(Image at top: Tarek Atoui, <em>WITHIN</em>,&nbsp;Instrument Testing, Sentralbadet, Bergen Assembly 2016. Photo: Thor Br&oslash;dreskift)</span></p> Tue, 13 Sep 2016 15:18:55 +0000 http://www.artslant.com/trn/Articles/list http://www.artslant.com/trn/Articles/list Wednesday Web Artist of the Week: Xaviera López <p style="line-height: 26px;"><span style="font-family: georgia, palatino; font-size: medium;">‪<a href="http://xavieralopez.com/">Xaviera L&oacute;pez</a> is a Chilean animator who was an early adopter of the short video app Vine. Alongside a few likeminded souls she helped reveal the creative potential of the deceptively limited platform. The challenge of packing ideas, depth, and emotion into a maximum of six seconds has lead to a new visual language that has spread across all motion-based mediums.</span></p> <p style="line-height: 26px;"><span style="font-family: georgia, palatino; font-size: medium;">L&oacute;pez creates hallucinatory, visual poems that expertly utilize traditional drawing and animation techniques in a uniquely modern way. Her animations are unwaveringly personal representations of her own mentality and physicality. They could be seen a radical explosion of the concept of the &ldquo;selfie&rdquo; where narcissism is replaced with thoughtful examination. Working within Vine&rsquo;s limitations, she makes rare alchemy, combining instant, universal visual joy and emotional depth.</span></p> <p style="line-height: 26px;"><span style="font-family: georgia, palatino; font-size: medium;">I spoke to L&oacute;pez about learning to love social media, being an artist in Chile, how long it takes to make a six-second animation.</span></p> <p style="line-height: 26px; text-align: center;"><span style="font-family: georgia, palatino; font-size: medium;"><iframe src="https://vine.co/v/i2d10aAQWar/embed/simple" frameborder="0" width="600" height="600"></iframe><br /></span></p> <p style="line-height: 26px;"><span style="font-family: georgia, palatino; font-size: medium;">&nbsp;</span></p> <p style="line-height: 26px;"><span style="font-family: georgia, palatino; font-size: medium;"><strong>Christian Petersen: When did you first realize that you had a talent for drawing?</strong></span></p> <p style="line-height: 26px;"><span style="font-family: georgia, palatino; font-size: medium;"><strong>Xaviera L&oacute;pez: </strong>My father was a very creative person, a skilled draftsman who also collected pencils and books. He would accidentally spill coffee on his journal and turn the spot into a realistic drawing, or take me exploring places where he would draw everything that caught his attention. He was a great photographer too, but drawing was a way to capture the world according to his own subjectivity. I would carefully observe and fall in love with the technique and possibilities.</span></p> <p style="line-height: 26px;"><span style="font-family: georgia, palatino; font-size: medium;">I started drawing regularly at age four and tracing or copying images from books or magazines to understand proportions and shapes. When I was five years old I won the first prize on a drawing contest and walked home with a gold medal, a huge smile and&mdash;what back then felt like&mdash;a mountain of art supplies.</span></p> <p style="line-height: 26px;"><span style="font-family: georgia, palatino; font-size: medium;">Of course there was a moment in school where I was labeled as "artist" because I was able to make realistic stuff and had an imagination, but it wasn't really appreciated (like sports or sciences) so it was not a big deal. More than realizing I had a talent, what was important is that I loved it. The bar was pretty high, not only because of the quality of my father&rsquo;s drawings but because I was also looking at the work of people like Da Vinci or D&uuml;rer, so I knew I had to practice for the rest of my life if I ever really wanted to be great. I think it&rsquo;s the love and admiration that allowed me then (and now) to overcome frustration and keep on working regardless of the results.</span></p> <p style="line-height: 26px; text-align: center;"><span style="font-family: georgia, palatino; font-size: medium;"><iframe src="https://vine.co/v/5BrDmBlZuYB/embed/simple" frameborder="0" width="600" height="600"></iframe> <script type="text/javascript" src="https://platform.vine.co/static/scripts/embed.js"></script> </span></p> <p style="line-height: 26px;"><span style="font-family: georgia, palatino; font-size: medium;">&nbsp;</span></p> <p style="line-height: 26px;"><span style="font-family: georgia, palatino; font-size: medium;"><strong>CP: What inspired you to start making animations?</strong></span><span style="font-family: georgia, palatino; font-size: medium;">&nbsp;</span></p> <p style="line-height: 26px;"><span style="font-family: georgia, palatino; font-size: medium;"><strong>XL: </strong>Back in art college I learned about video and different animation techniques, while developing a fascination with moving images. I found it was easier to communicate complex and paradoxical realities.</span></p> <p style="line-height: 26px;"><span style="font-family: georgia, palatino; font-size: medium;">Using my passion for drawing, I discovered that animating my ideas was a process of pure joy. Literally, this is about giving a soul to something that didn't have one, and movement seemed like such a natural step because nothing is still. Every time I see something finished, I feel all kinds of butterflies and fireworks and I don&rsquo;t really care about the amount of effort or time I put into it.</span></p> <p style="line-height: 26px;"><span style="font-family: georgia, palatino; font-size: medium;"><strong>CP: When did you become aware of using the internet for creative expression?</strong></span></p> <p style="line-height: 26px;"><span style="font-family: georgia, palatino; font-size: medium;"><strong>XL:</strong> I&rsquo;ve always been amazed by the internet. The last invention that radically changed the way information is distributed was Gutenberg&rsquo;s print 500 years ago, and I think we&rsquo;re witnessing the same kind of revolution on a much larger scale, which in my opinion is just the beginning. It&rsquo;s such an interesting era to be alive because as most information is fully available we have to start looking for new dimensions of life.</span></p> <p style="line-height: 26px;"><span style="font-family: georgia, palatino; font-size: medium;">Net Art was the first approach I had to internet and creation, so I saw it from the beginning as another medium to create artwork. I was not at all into social media because of the typical judgments we make: it&rsquo;s about food, bad jokes, selfies, and a crazy hyper-curated reality, but after lots of frustration trying to make the usual path as an artist, I thought it might be a good way to achieve visibility outside of my geographical place (Chile). Social media is a tool, we can use it however we like it. This may seem obvious to some but I took a while to realize it.</span><span style="font-family: georgia, palatino; font-size: medium;">&nbsp;</span></p> <p style="line-height: 26px; text-align: center;"><span style="font-family: georgia, palatino; font-size: medium;"><iframe src="https://vine.co/v/eFg0HbVAQ2U/embed/simple" frameborder="0" width="600" height="600"></iframe> <script type="text/javascript" src="https://platform.vine.co/static/scripts/embed.js"></script> &nbsp;</span></p> <p style="line-height: 26px; text-align: center;"><span style="font-family: georgia, palatino; font-size: medium;">&nbsp;</span></p> <p style="line-height: 26px;"><span style="font-family: georgia, palatino; font-size: medium;"><strong>CP: You started <a href="https://vine.co/xavieralopez" target="_blank">making your animations as Vines</a>. Why did you choose that format?</strong></span></p> <p style="line-height: 26px;"><span style="font-family: georgia, palatino; font-size: medium;"><strong>XL:</strong> Yes, and it wasn&rsquo;t a fully conscious choice. As I always do, I got very excited and inspired about it, and just followed this excitement and inspiration.</span></p> <p style="line-height: 26px;"><span style="font-family: georgia, palatino; font-size: medium;">I was really happy while I was in college. All that disinterested experimentation, study and hard work was something I was very comfortable with. After college I worked for a few years as art director for advertising and I learned a lot but nearly forgot about my personal work. Despite feeling constantly uncomfortable about it, I thought it was just real life and I had to deal with it.</span></p> <p style="line-height: 26px;"><span style="font-family: georgia, palatino; font-size: medium;">In 2013, I was casually introduced to Vine by my sister and I got obsessed with the app: everything I loved and had previously done was there, so I started spending all my spare time making vines while reconnecting with all the materials, techniques, and ideas that once had made sense to me. Doing this actually changed my life.</span><strong style="font-family: georgia, palatino; font-size: medium;">&nbsp;</strong></p> <p style="line-height: 26px;"><span style="font-family: georgia, palatino; font-size: medium;"><strong>CP: Was there a Vine animation community that you were involved in?</strong></span></p> <p style="line-height: 26px;"><span style="font-family: georgia, palatino; font-size: medium;"><strong>XL:</strong> Very much! Vine was really challenging because there were technical limitations. It was only possible to create in-app, so you had to make stop motion animations by tapping very precisely on the screen. I didn't have any professional equipment so I used to tape my phone to jars or trees and use all sorts of tricks to get good lighting and steadiness. We all had the same limitations, but there were people doing outstanding creative work and constantly redefining what could be done despite the restrictions. At that time it was a relatively small community so it was easy to communicate. Everyone was generous to share tricks, give advice, or comment on each other&rsquo;s work. I felt I was part of a community where we were all doing this new thing and equally excited and obsessed about it.</span></p> <p style="line-height: 26px; text-align: center;"><span style="font-family: georgia, palatino; font-size: medium;"><iframe src="https://vine.co/v/iMJzrThFhDL/embed/simple" frameborder="0" width="600" height="600"></iframe> <script type="text/javascript" src="https://platform.vine.co/static/scripts/embed.js"></script> </span></p> <p style="line-height: 26px;"><span style="font-family: georgia, palatino; font-size: medium;"><strong>&nbsp;</strong></span></p> <p style="line-height: 26px;"><span style="font-family: georgia, palatino; font-size: medium;"><strong>CP: When did you decide to expand into <a href="https://giphy.com/xavieralopez" target="_blank">making GIFs</a>?</strong></span></p> <p style="line-height: 26px;"><span style="font-family: georgia, palatino; font-size: medium;"><strong>XL:</strong> This is such a crazy story. My kiss animation was chosen as an Editor&rsquo;s Picks on Vine. This was a huge accomplishment for me, but it also meant that the animation went slightly viral (not like a meme or a funny video, but it was exposed to a lot of people). Someone stole this animation and turned it into a gif, and it was everywhere. My sister, who is really good at marketing and strategy said it was time for me to open profiles on other platforms and make myself a Giphy account. I was on my couch, procrastinating because I was very upset about people stealing my work, when I got an email from Giphy offering me a featured user account. I couldn't believe it, and that&rsquo;s how I made a gif version of all my animations, that very same day, after some celebratory dance.</span></p> <p style="line-height: 26px;"><strong style="font-family: georgia, palatino; font-size: medium;">CP: When did you first realize that your work was becoming popular?</strong><strong style="font-family: georgia, palatino; font-size: medium;">&nbsp;</strong></p> <p style="line-height: 26px;"><span style="font-family: georgia, palatino; font-size: medium;"><strong>XL: </strong>On Vine there&rsquo;s a loop counter so you can track the activity in real time. This is really silly, but I remember looking at the loop counter and feeling less alone because there was someone else looking at one of my videos at the same time than I was. Well, one day instead of one person there were lots of people and I imagined a big introverted anonymous party.</span></p> <p style="line-height: 26px; text-align: center;"><span style="font-family: georgia, palatino; font-size: medium;"><iframe src="https://vine.co/v/e1tr3niAD9J/embed/simple" frameborder="0" width="600" height="600"></iframe> <script type="text/javascript" src="https://platform.vine.co/static/scripts/embed.js"></script> <br /> <script type="text/javascript" src="https://platform.vine.co/static/scripts/embed.js"></script> </span></p> <p style="line-height: 26px; text-align: center;"><span style="font-family: georgia, palatino; font-size: medium;">&nbsp;</span></p> <p style="line-height: 26px;"><span style="font-family: georgia, palatino; font-size: medium;"><strong>CP: Your animations are very psychedelic&mdash;is that something you are interested in generally?</strong></span></p> <p style="line-height: 26px;"><span style="font-family: georgia, palatino; font-size: medium;"><strong>XL:</strong> Etymologically (psyche-mind + deloun-make visible, reveal) yes, absolutely. I&rsquo;m very interested in the inner invisible worlds and through my work, I try to reveal them to myself and hopefully others.</span></p> <p style="line-height: 26px;"><span style="font-family: georgia, palatino; font-size: medium;">About drugs: I&rsquo;m a very sensitive person and even coffee hits me twice as hard. I&rsquo;ve had awful experiences with marijuana and alcohol, so I&rsquo;m not into any kind of substance if the purpose is to numb yourself or evade reality. I&rsquo;ll have a beer or wine to share with friends. Ayahuasca or mushrooms (I don&rsquo;t even think they&rsquo;re drugs), taken with a purpose and in a ritual context are a whole different thing. I did both once and it was beautiful, like a big hug from the universe.</span><span style="font-family: georgia, palatino; font-size: medium;">&nbsp;</span></p> <p style="line-height: 26px; text-align: center;"><span style="font-family: georgia, palatino; font-size: medium;"><iframe src="https://vine.co/v/ip5M0mYlTOA/embed/simple" frameborder="0" width="600" height="600"></iframe> <script type="text/javascript" src="https://platform.vine.co/static/scripts/embed.js"></script> </span></p> <p style="line-height: 26px;"><span style="font-family: georgia, palatino; font-size: medium;">&nbsp;</span></p> <p style="line-height: 26px;"><span style="font-family: georgia, palatino; font-size: medium;"><strong>CP: Do you see your animations as a direct representation of your mental state?</strong></span><strong style="font-family: georgia, palatino; font-size: medium;">&nbsp;</strong></p> <p style="line-height: 26px;"><span style="font-family: georgia, palatino; font-size: medium;"><strong>XL:</strong> All the initial ideas come from my journals. They are always about my inner life in relation to specific things I see and gather from the outside world. Everything is an ongoing self-portrait that registers meaningful things. Sometimes my animations turn out to be exactly as I first visualized them and sometimes they become something else&mdash;similar but different. It&rsquo;s a great way to process emotions and experiences, because it&rsquo;s delicate and focused work. Then there&rsquo;s the final result, always unexpected in a way. I also enjoy how people receive my animations, which makes me see other nuances and gives me new things to think about.</span></p> <p style="line-height: 26px;"><span style="font-family: georgia, palatino; font-size: medium;">I honestly have no idea what my work says about me as a person, I just go and do whatever I feel like doing.&nbsp; You can tell that I&rsquo;m focused and a hard-worker (maybe sensitive? romantic?) but other than that, I may have to ask...</span></p> <p style="line-height: 26px;"><span style="font-family: georgia, palatino; font-size: medium;"><strong>CP: Is it a challenge to express specific personal, emotional feelings in very short animations?</strong></span><strong style="font-family: georgia, palatino; font-size: medium;">&nbsp;</strong></p> <p style="line-height: 26px;"><span style="font-family: georgia, palatino; font-size: medium;"><strong>XL:</strong> I think that Vine has been excellent training for me to learn to say something in a very short time. At first, it was difficult for me and I guess that&rsquo;s why my first vines were kind of flat and decorative. However, after practicing regularly for about three years it is getting easier to put ideas and feelings more effectively a into short format video.</span></p> <p style="line-height: 26px;"><span style="font-family: georgia, palatino; font-size: medium;">About working with the personal, I&rsquo;m comfortable because images have more ambiguity than words, and viewers give their own meaning to what I do and relate in their own way. I think it&rsquo;s very interesting to share something personal and get to see how others view it. This is another advantage of the internet: people feel free to speak their minds.</span></p> <p style="line-height: 26px; text-align: center;"><span style="font-family: georgia, palatino; font-size: medium;"><iframe src="https://vine.co/v/ejEMrI66EFE/embed/simple" frameborder="0" width="600" height="600"></iframe> <script type="text/javascript" src="https://platform.vine.co/static/scripts/embed.js"></script> </span></p> <p style="line-height: 26px; text-align: center;"><span style="font-family: georgia, palatino; font-size: medium;">&nbsp;</span></p> <p style="line-height: 26px;"><span style="font-family: georgia, palatino; font-size: medium;"><strong>CP: How long does it generally take to make an animation?</strong></span></p> <p style="line-height: 26px;"><span style="font-family: georgia, palatino; font-size: medium;"><strong>XL: </strong>It all starts with an idea. Then I usually sketch it and figure out how am I going to make it. After that it takes from 8 to 72 hours of drawing for 6 seconds of animation.</span></p> <p style="line-height: 26px;"><span style="font-family: georgia, palatino; font-size: medium;"><strong>CP: What&rsquo;s the art scene like in Chile?</strong></span></p> <p style="line-height: 26px;"><span style="font-family: georgia, palatino; font-size: medium;"><strong>XL:</strong> I&rsquo;m not the right person to answer this question because my last exhibition here was in 2009 I believe, but I can say there are lots of tremendously talented artists and not that many opportunities down here as this is a very small country. The usual path to make it as an artist (or any "alternative" occupation) is to actually leave the country, but I think this is slowly changing. Here the arts field is very precarious and there is no such thing as an artist career, so you just have to believe in yourself (clich&eacute; but so true!) and keep on making the work that you want to make despite all the limitations, which is good in a way because you become resourceful and stubborn.</span></p> <p style="line-height: 26px; text-align: center;"><span style="font-family: georgia, palatino; font-size: medium;"><iframe src="https://vine.co/v/iHaBrhzrgbx/embed/simple" frameborder="0" width="600" height="600"></iframe> <script type="text/javascript" src="https://platform.vine.co/static/scripts/embed.js"></script> </span></p> <p style="line-height: 26px; text-align: center;"><span style="font-family: georgia, palatino; font-size: medium;">&nbsp;</span></p> <p style="line-height: 26px;"><span style="font-family: georgia, palatino; font-size: medium;"><strong>CP: Do you feel a part of the global new media art community?</strong></span></p> <p style="line-height: 26px;"><span style="font-family: georgia, palatino; font-size: medium;"><strong>XL:</strong> I feel completely part of it. On the internet, I&rsquo;ve met many talented and cool people that I share similar ideas and visions with and we talk very often. I&rsquo;d love to meet some of my friends from Vine in real life but I&rsquo;m at least ten hours away (on a plane) from anybody and I don&rsquo;t like it. One of these days I&rsquo;m just going to go visiting all my friends.</span></p> <p style="line-height: 26px;"><span style="font-family: georgia, palatino; font-size: medium;"><strong>CP: What else do you do besides your personal art?</strong></span><strong style="font-family: georgia, palatino; font-size: medium;">&nbsp;</strong></p> <p style="line-height: 26px;"><span style="font-family: georgia, palatino; font-size: medium;"><strong>XL:</strong> I draw around eight hours per day so there&rsquo;s not much time left. I&rsquo;ve been practicing Yoga for about ten years now, I even did a two-year teacher training program because I wanted to know more about the non-physical aspects of it, which is substantial. I practice every day and I love it because it keeps me grounded and calm. Whenever I can, I try to do physical activities such as walking or dancing because what I do is pretty sedentary and I have a lot of energy: if I don&rsquo;t move enough, I don&rsquo;t sleep.</span></p> <p style="line-height: 26px;"><span style="font-family: georgia, palatino; font-size: medium;">For the last few years, I've been mentoring a teenage girl to make her animations and it&rsquo;s been great. I&rsquo;m very proud of her! Other than that, I watch movies, read books, go to every art exhibition I can. I also listen to podcasts and write a lot, but only for myself. Once a week I go to psychological therapy which I enjoy very much in a strange way, because of course it&rsquo;s not always nice.</span></p> <p style="line-height: 26px; text-align: center;"><span style="font-family: georgia, palatino; font-size: medium;"><iframe src="https://vine.co/v/ingjIPxqELm/embed/simple" frameborder="0" width="600" height="600"></iframe> <script type="text/javascript" src="https://platform.vine.co/static/scripts/embed.js"></script> </span></p> <p style="line-height: 26px; text-align: center;"><span style="font-family: georgia, palatino; font-size: medium;">&nbsp;</span></p> <p style="line-height: 26px;"><span style="font-family: georgia, palatino; font-size: medium;"><strong>CP: What projects are you currently working on?</strong></span></p> <p style="line-height: 26px;"><span style="font-family: georgia, palatino; font-size: medium;"><strong>XL:</strong> I&rsquo;m working on a couple of branded projects, I&rsquo;m doing the animations for a documentary about women filmmakers, the illustrations for a poetry book, and a music video. In conjunction with my contracted projects, I am always working on personal animations and illustrations as well.</span><span style="font-family: georgia, palatino; font-size: medium;">&nbsp;</span></p> <p style="line-height: 26px;"><span style="font-family: georgia, palatino; font-size: medium;"><strong>CP: What would your dream project be?</strong></span></p> <p style="line-height: 26px;"><strong style="font-family: georgia, palatino; font-size: medium;">XL:</strong><span style="font-family: georgia, palatino; font-size: medium;"> Ughh, so many but I&rsquo;m on my way there! I would like to make a movie, paint murals, make jewelry, dresses, installations, everything! I want to work with interesting people and I&rsquo;d love to find a way to give back what has been given to me, which I think is a lot. I feel like doing something (artistic or educational) for young girls: I want them to love themselves, to be strong and creative.</span></p> <p style="line-height: 26px;"><span style="font-family: georgia, palatino; font-size: medium;">&nbsp;</span></p> <p style="line-height: 26px;"><span style="font-family: georgia, palatino; font-size: medium;">&mdash;<a href="http://www.artslant.com/global/artists/show/441718-christian-petersen?tab=REVIEWS" target="_blank">Christian Petersen</a></span></p> <p style="line-height: 26px;"><span style="font-family: georgia, palatino; font-size: medium;"><em>We run an online magazine, so of course, we're interested in what's happening with art on the web. We invited online gallerist, founder, and curator of&nbsp;<a href="http://www.digitalsweatgallery.com/" target="_blank">Digital Sweat Gallery</a>, Christian Petersen, to write a bi-monthly column for us. Every other Wednesday he selects a Web Artist of the Week.</em></span></p> <p style="line-height: 26px;"><span style="font-family: georgia, palatino; font-size: x-small;">&nbsp;</span></p> <p style="line-height: 26px;"><span style="font-family: georgia, palatino; font-size: x-small;">(All images courtesy of the artist.)</span></p> Wed, 07 Sep 2016 18:46:14 +0000 http://www.artslant.com/trn/Articles/list http://www.artslant.com/trn/Articles/list New York Gallery Guide: The Fall Shows Not to Miss <p><span style="font-family: georgia, palatino; font-size: medium; line-height: 26px;">We've already shared our Fall picks for&nbsp;<a style="text-decoration: none; color: #00cfa6;" href="http://www.artslant.com/ew/articles/show/46473" target="_blank">must-see exhibitions</a> at museums and art spaces around the world. But come September, commercial spaces and non-profits also step up their game. While <a style="text-decoration: none; color: #00cfa6;" href="http://www.artslant.com/global/events/list?listtype=openings" target="_blank">our calendar</a> is packed with the hottest exhibitions listings from the world's biggest art hubs&mdash;from <a style="text-decoration: none; color: #00cfa6;" href="http://www.artslant.com/la/events/list?listtype=openings" target="_blank">L.A.</a> to <a style="text-decoration: none; color: #00cfa6;" href="http://www.artslant.com/lon/events/list?listtype=openings" target="_blank">London</a> and <a style="text-decoration: none; color: #00cfa6;" href="http://www.artslant.com/ew/events/list?listtype=openings" target="_blank">beyond</a>&mdash;few cities support the sheer density of formidable openings that New York does.</span></p> <p><span style="font-family: georgia, palatino; font-size: medium; line-height: 26px;">Let us help you achieve calendar clarity. These are the New York gallery openings we've set our sights on this season.&nbsp;</span></p> <p>&nbsp;</p> <table width="100%" align="right"> <tbody> <tr> <td style="padding: 10px;" bgcolor="#efefef"> <p><em><span style="font-family: georgia, palatino; font-size: medium; line-height: 26px;">Get the most out of the <strong><a style="text-decoration: none; color: #00cfa6;" href="http://www.artslant.com/global/events/list?listtype=openings" target="_blank">ArtSlant Calendar</a></strong>! Plan gallery and museum trips, map venues and events, share exhibitions with friends, and follow your favorite artists by using our <strong><a style="text-decoration: none; color: #00cfa6;" href="http://www.artslant.com/global/articles/show/8691" target="_blank">mylist</a></strong>&nbsp;and artist&nbsp;<strong><a style="text-decoration: none; color: #00cfa6;" href="http://www.artslant.com/global/articles/show/11143" target="_blank">watchlist</a></strong> features.</span></em></p> </td> </tr> <tr> <td>&nbsp;</td> </tr> </tbody> </table> <p>&nbsp;</p> <table style="border: 2px; border-style: none none none none; border-color: #b2b2b2;" width="100%"> <tbody> <tr><!-- Exhibition info --> <td style="padding: 10px; border: 2px; border-style: dotted dotted dotted dotted; color: #b2b2b2;" width="300"> <p><strong style="font-size: x-large;"><span style="font-family: helvetica;"><a style="text-decoration: none; color: #00cfa6;" href="http://www.artslant.com/ny/events/show/425831-democratic-intuition-lerato">Meleko Mokgosi, <em style="text-decoration: none; color: #00cfa6;">Democratic Intuition: Lerato </em><span style="color: #00cfa6;">&amp; </span></a><em style="text-decoration: none; color: #00cfa6;"><a style="text-decoration: none; color: #00cfa6;" href="http://www.artslant.com/ny/events/show/425833-democratic-intuition-comrades-ii" target="_blank">Comrades II</a></em><a href="http://www.artslant.com/ny/events/show/425831-democratic-intuition-lerato"><br /></a></span></strong></p> <p><span style="font-size: small;"><strong><span style="font-family: helvetica;"><a style="text-decoration: none; color: #00cfa6;" href="http://www.artslant.com/ny/venues/show/388-jack-shainman-gallery-20th-street" target="_blank">Jack Shainman Gallery | 20th Street</a></span></strong></span><br /><span style="font-family: helvetica;"><span style="font-size: small; color: #000000;"><span style="color: #000000;">513 W. 20th Street</span><span style="font-family: helvetica; font-size: medium;"><span style="font-size: small;"><br /></span></span></span></span></p> <p><span style="font-family: helvetica;"><span style="font-size: small; color: #000000;"><span style="color: #000000;">and <strong><a style="text-decoration: none; color: #00cfa6;" href="http://www.artslant.com/ny/venues/show/38720-jack-shainman-gallery-24th-street" target="_blank">24th Street</a></strong><br />524 West 24th Street&nbsp;<br />New York, NY&nbsp;10011<br /></span></span></span></p> <p>&nbsp;</p> <!-- Opening dates --> <table style="vertical-align: baseline; padding: 10px; border: 2px; border-style: dotted none none none;" width="100%"> <tbody> <tr> <td> <p><span style="font-family: helvetica; font-size: medium;">&nbsp;</span></p> <p style="text-align: left;"><span style="font-family: helvetica;"><span style="font-size: small; color: #000000;"><span style="color: #000000;">September 8&ndash;October 22<br /></span><span style="font-family: helvetica;"><span style="font-size: small; color: #000000;"><span style="color: #000000;">Opening:&nbsp;</span><span style="font-family: helvetica;"><span style="font-size: small; color: #000000;"><span style="color: #000000;">September 8, 6&ndash;8pm</span></span></span></span></span></span></span></p> </td> </tr> </tbody> </table> </td> <!-- Image --> <td style="padding: 10px; border: 2px; border-style: dotted dotted dotted dotted; color: #b2b2b2;" width="300"> <p style="text-align: center;"><span style="font-family: helvetica;"><span style="font-size: small; color: #000000;"><span style="color: #000000;">&nbsp;<a href="http://www.artslant.com/ny/events/show/425831-democratic-intuition-lerato" target="_blank"><img src="http://dbprng00ikc2j.cloudfront.net/work/image/1003467/qg7swq/20160818164810-MEM-Resistance-sized-for-exh-web.jpg" alt="" /></a></span></span></span></p> <!-- Caption --> <p style="text-align: center;"><span style="font-family: helvetica; font-size: x-small; color: #000000;">Meleko Mokgosi<br /> &copy; Courtesy of the Artist and Jack Shainman Gallery</span></p> </td> </tr> <!-- New Exhibition --> <tr><!-- Exhibition info --> <td style="padding: 10px; border: 2px; border-style: dotted dotted dotted dotted; color: #b2b2b2;" width="300"> <p><strong style="font-size: x-large;"><span style="font-family: helvetica;"><a style="text-decoration: none; color: #00cfa6;" href="http://www.artslant.com/ny/events/show/424713-fly-away" target="_blank">Rashid Johnson,</a></span></strong><em><strong style="font-size: x-large;"><span style="font-family: helvetica;"><a style="text-decoration: none; color: #00cfa6;" href="http://www.artslant.com/ny/events/show/424713-fly-away" target="_blank"> <br /><em>Fly Away</em></a></span></strong></em></p> <p><span style="font-size: small;"><strong><span style="font-family: helvetica;"><a style="text-decoration: none; color: #00cfa6;" href="http://www.artslant.com/ny/venues/show/37500-hauser-wirth" target="_blank">Hauser &amp; Wirth</a></span></strong></span><br /><span style="font-family: helvetica;"><span style="font-size: small; color: #000000;"><span style="color: #000000;">511 West 18th Street <br />New York, NY </span><span style="font-family: helvetica; font-size: medium;"><span style="font-size: small;"><br /></span></span></span></span></p> <p>&nbsp;</p> <!-- Opening dates --> <table style="vertical-align: baseline; padding: 10px; border: 2px; border-style: dotted none none none;" width="100%"> <tbody> <tr> <td> <p><span style="font-family: helvetica; font-size: medium;">&nbsp;</span></p> <p style="text-align: left;"><span style="font-family: helvetica;"><span style="font-size: small; color: #000000;"><span style="color: #000000;">September 8&ndash;October 22<br /></span><span style="font-family: helvetica;"><span style="font-size: small; color: #000000;"><span style="color: #000000;">Opening:&nbsp;</span><span style="font-family: helvetica;"><span style="font-size: small; color: #000000;"><span style="color: #000000;">September 8, 6&ndash;8pm</span></span></span></span></span></span></span></p> </td> </tr> </tbody> </table> </td> <!-- Image --> <td style="padding: 10px; border: 2px; border-style: dotted dotted dotted dotted; color: #b2b2b2;" width="300"> <p style="text-align: center;"><span style="font-family: helvetica;"><span style="font-size: small; color: #000000;"><span style="color: #000000;">&nbsp;<a href="http://www.artslant.com/ny/events/show/424713-fly-away" target="_blank"><img title="" src="http://dbprng00ikc2j.cloudfront.net/work/image/1001629/qg7swq/20160804170023-rashid_johnson_flyaway6-ROaMcq.jpg" alt="" /></a></span></span></span></p> <!-- Caption --> <p style="text-align: center;"><span style="font-family: helvetica; font-size: x-small; color: #000000;">Rashid Johnson, <em>Untitled Escape Collage</em>, 2016, white ceramic tile, black soap, wax, vinyl, spray enamel, 241.3 x 360.7 x 6.4 cm / 95 x 142 x 2 1/2 in &copy; Courtesy of the Artist and Hauser &amp; Wirth</span></p> </td> </tr> <!-- New Exhibition --> <tr><!-- Exhibition info --> <td style="padding: 10px; border: 2px; border-style: dotted dotted dotted dotted; color: #b2b2b2;" width="300"> <p><strong style="font-size: x-large;"><span style="font-family: helvetica;"><a style="text-decoration: none; color: #00cfa6;" href="http://www.artslant.com/ny/events/show/423373-30-days-of-morning" target="_blank"><span style="color: #00cfa6;">A.L. Steiner, </span><em style="text-decoration: none; color: #00cfa6;">30 Days of Mo:)rning</em></a></span></strong></p> <p><span style="font-size: small;"><strong><span style="font-family: helvetica;"><a style="text-decoration: none; color: #00cfa6;" href="http://www.artslant.com/ny/venues/show/25065-koenig-clinton" target="_blank">Koenig &amp; Clinton</a></span></strong></span><br /><span style="font-family: helvetica;"><span style="font-size: small; color: #000000;"><span style="color: #000000;">459 West 19th Street<br />New York, NY 10011 <br /></span></span></span></p> <p>&nbsp;</p> <!-- Opening dates --> <table style="vertical-align: baseline; padding: 10px; border: 2px; border-style: dotted none none none;" width="100%"> <tbody> <tr> <td> <p><span style="font-family: helvetica; font-size: medium;">&nbsp;</span></p> <p style="text-align: left;"><span style="font-family: helvetica;"><span style="font-size: small; color: #000000;"><span style="color: #000000;">September 15&ndash;October 29<br />Closing reception: October 20, 6&ndash;8pm</span></span></span></p> </td> </tr> </tbody> </table> </td> <td style="padding: 10px; border: 2px; border-style: dotted dotted dotted dotted; color: #b2b2b2;" width="300"> <p style="text-align: center;"><span style="font-family: helvetica;"><span style="font-size: small; color: #000000;"><span style="color: #000000;">&nbsp;<a href="http://www.artslant.com/ny/events/show/423373-30-days-of-morning" target="_blank"><img title="" src="http://dbprng00ikc2j.cloudfront.net/work/image/1003864/qg7swq/20160901181902-ALSteiner_30DaysOfMorning_Press_2016_300dpi.jpg" alt="" /></a></span></span></span></p> <!-- Caption --> <p style="text-align: center;"><span style="font-family: helvetica; font-size: x-small; color: #000000;">A.L. Steiner, <em>30 Days of Mo:)rning</em></span></p> </td> </tr> <!-- New Exhibition --> <tr><!-- Exhibition info --> <td style="padding: 10px; border: 2px; border-style: dotted dotted dotted dotted; color: #b2b2b2;" width="300"> <p><strong style="font-size: x-large;"><span style="font-family: helvetica;"><a style="text-decoration: none; color: #00cfa6;" href="http://www.artslant.com/ny/events/show/424796-freeze-memory" target="_blank">Julian Charri&egrave;re,&nbsp;<em>Freeze, Memory</em></a></span></strong></p> <p><span style="font-size: small;"><strong><span style="font-family: helvetica;"><a style="text-decoration: none; color: #00cfa6;" href="http://www.artslant.com/ny/venues/show/500-sean-kelly-gallery" target="_blank">Sean Kelly Gallery</a></span></strong></span><br /><span style="font-family: helvetica;"><span style="font-size: small; color: #000000;"><span style="color: #000000;">475 Tenth Ave<br />New York, NY 10018 </span></span></span></p> <p>&nbsp;</p> <!-- Opening dates --> <table style="vertical-align: baseline; padding: 10px; border: 2px; border-style: dotted none none none;" width="100%"> <tbody> <tr> <td> <p><span style="font-family: helvetica; font-size: medium;">&nbsp;</span></p> <p style="text-align: left;"><span style="font-family: helvetica;"><span style="font-size: small; color: #000000;"><span style="color: #000000;">September 10&ndash;October 22<br /></span><span style="font-family: helvetica;"><span style="font-size: small; color: #000000;"><span style="color: #000000;">Opening:&nbsp;</span><span style="font-family: helvetica;"><span style="font-size: small; color: #000000;"><span style="color: #000000;">September 10, 6&ndash;8pm</span></span></span></span></span></span></span></p> </td> </tr> </tbody> </table> </td> <!-- Image --> <td style="padding: 10px; border: 2px; border-style: dotted dotted dotted dotted; color: #b2b2b2;" width="300"> <p style="text-align: center;"><span style="font-family: helvetica;"><span style="font-size: small; color: #000000;"><span style="color: #000000;">&nbsp;<a href="http://www.artslant.com/ny/events/show/424796-freeze-memory" target="_blank"><img title="" src="http://dbprng00ikc2j.cloudfront.net/work/image/1001832/qg7swq/20160805193121-b1726345ce4934387a946739ead799e7.jpeg" alt="" /></a></span></span></span></p> <!-- Caption --> <p style="text-align: center;"><span style="font-family: helvetica; font-size: x-small; color: #000000;">Julian Charri&egrave;re, <em>Polygon XXIV</em>, black and white double exposure medium format film with thermonuclear strata on baryta paper,, 47 1/5 &times; 55 1/10 in, 120 &times; 140 cm. &copy; Julian Charri&egrave;re /VG Bild-Kunst, Bonn, Courtesy: DITTRICH &amp; SCHLECHTRIEM, Berlin</span></p> </td> </tr> <!-- New Exhibition --> <tr><!-- Exhibition info --> <td style="padding: 10px; border: 2px; border-style: dotted dotted dotted dotted; color: #b2b2b2;" width="300"> <p><strong style="font-size: x-large;"><span style="font-family: helvetica;"><a style="text-decoration: none; color: #00cfa6;" href="http://www.artslant.com/ny/events/show/425854-blockchain-future-states" target="_blank">Simon Denny, <em>Blockchain Future States</em><br /></a></span></strong></p> <p><span style="font-size: small;"><strong><span style="font-family: helvetica;"><a style="text-decoration: none; color: #00cfa6;" href="http://www.artslant.com/ny/venues/show/36626-petzel-gallery---18th-street" target="_blank">Petzel Gallery | 18th Street</a></span></strong></span><br /><span style="font-family: helvetica;"><span style="font-size: small; color: #000000;"><span style="color: #000000;">456 W 18th Street<br />New York, NY 10011<br /></span></span></span></p> <p>&nbsp;</p> <!-- Opening dates --> <table style="vertical-align: baseline; padding: 10px; border: 2px; border-style: dotted none none none;" width="100%"> <tbody> <tr> <td> <p><span style="font-family: helvetica; font-size: medium;">&nbsp;</span></p> <p style="text-align: left;"><span style="font-family: helvetica;"><span style="font-size: small; color: #000000;"><span style="color: #000000;">September 8&ndash;October 22<br /></span><span style="font-family: helvetica;"><span style="font-size: small; color: #000000;"><span style="color: #000000;">Opening:&nbsp;</span><span style="font-family: helvetica;"><span style="font-size: small; color: #000000;"><span style="color: #000000;">September 8, 6&ndash;8pm</span></span></span></span></span></span></span></p> </td> </tr> </tbody> </table> </td> <!-- Image --> <td style="padding: 10px; border: 2px; border-style: dotted dotted dotted dotted; color: #b2b2b2;" width="300"> <p style="text-align: center;"><span style="font-family: helvetica;"><span style="font-size: small; color: #000000;"><span style="color: #000000;">&nbsp;<a href="http://www.artslant.com/ny/events/show/425854-blockchain-future-states" target="_blank"><img title="" src="http://dbprng00ikc2j.cloudfront.net/work/image/1003480/qg7swq/20160818175222-SD_5163_web0.jpg" alt="" /></a></span></span></span></p> <!-- Caption --> <p style="text-align: center;"><span style="font-family: helvetica; font-size: x-small; color: #000000;">Simon Denny<br /> &copy; Courtesy of the Artist and Petzel Gallery</span></p> </td> </tr> <!-- New Exhibition --> <tr><!-- Exhibition info --> <td style="padding: 10px; border: 2px; border-style: dotted dotted dotted dotted; color: #b2b2b2;" width="300"> <p><strong style="font-size: x-large;"><span style="font-family: helvetica;"><a style="text-decoration: none; color: #00cfa6;" href="http://www.artslant.com/ny/events/show/427379-on-the-body" target="_blank">Random International,<em> On the Body</em></a></span></strong></p> <p><span style="font-size: small;"><strong><span style="font-family: helvetica;"><a style="text-decoration: none; color: #00cfa6;" href="http://www.artslant.com/ny/venues/show/54183-pace-gallery---537-west-24th" target="_blank">Pace Gallery | 537 West 24th</a></span></strong></span><br /><span style="font-family: helvetica;"><span style="font-size: small; color: #000000;"><span style="color: #000000;">537 West 24th Street<br /> New York, NY 10011 <br /></span></span></span></p> <p><a style="text-decoration: none; color: #00cfa6;" href="http://www.artslant.com/ew/artists/rackroom/10186" target="_blank"><span style="color: #00cfa6;"><em><strong>Read our interview with Random International</strong></em></span></a></p> <!-- Opening dates --> <table style="vertical-align: baseline; padding: 10px; border: 2px; border-style: dotted none none none;" width="100%"> <tbody> <tr> <td> <p><span style="font-family: helvetica; font-size: medium;">&nbsp;</span></p> <p style="text-align: left;"><span style="font-family: helvetica;"><span style="font-size: small; color: #000000;"><span style="color: #000000;">September 22&ndash;October 22<br /></span><span style="font-family: helvetica;"><span style="font-size: small; color: #000000;"><span style="color: #000000;">Opening:&nbsp;</span><span style="font-family: helvetica;"><span style="font-size: small; color: #000000;"><span style="color: #000000;">September 22, 6&ndash;8pm</span></span></span></span></span></span></span></p> </td> </tr> </tbody> </table> </td> <!-- Image --> <td style="padding: 10px; border: 2px; border-style: dotted dotted dotted dotted; color: #b2b2b2;" width="300"> <p style="text-align: center;"><span style="font-family: helvetica;"><span style="font-size: small; color: #000000;"><span style="color: #000000;">&nbsp;<a href="http://www.artslant.com/ny/events/show/427379-on-the-body" target="_blank"><img title="" src="http://dbprng00ikc2j.cloudfront.net/work/image/1006219/qg7swq/20160905160002-d.jpg" alt="" /></a></span></span></span></p> <!-- Caption --> <p style="text-align: center;"><span style="font-family: helvetica; font-size: x-small; color: #000000;">Random International, <em>Study for Fifteen Points / I</em>, 2016, motors, custom driver electronics, custom software, aluminium, LEDs, computer , 71.2 cm x 55.2 cm x 60.6 cm (28-1/16" x 21-3/4" x 23-7/8") &copy; Courtesy of the Artist and Pace Gallery</span></p> </td> </tr> <!-- New Exhibition --> <tr><!-- Exhibition info --> <td style="padding: 10px; border: 2px; border-style: dotted dotted dotted dotted; color: #b2b2b2;" width="300"> <p><strong style="font-size: x-large;"><span style="font-family: helvetica;"><a style="text-decoration: none; color: #00cfa6;" href="http://www.artslant.com/ny/events/show/424162-solo-exhibition" target="_blank">Katie Paterson<br /></a></span></strong></p> <p><span style="font-family: helvetica;"><span style="font-size: small; color: #000000;"><span style="color: #000000;"><strong style="font-family: Verdana, Arial, Helvetica, sans-serif;"><span style="font-family: helvetica;"><a style="text-decoration: none; color: #00cfa6;" href="http://www.artslant.com/ny/venues/show/53378-james-cohan-gallery---lower-east-side" target="_blank">James Cohan Gallery | Lower East Side<br /></a></span></strong></span><span style="font-family: helvetica;"><span style="font-size: small; color: #000000;"><span style="color: #000000;">291 Grand Street <br /></span><span style="font-family: helvetica;"><span style="font-size: small; color: #000000;"><span style="color: #000000;">New York, NY 10002 </span></span></span></span></span></span></span></p> <p>&nbsp;</p> <!-- Opening dates --> <table style="vertical-align: baseline; padding: 10px; border: 2px; border-style: dotted none none none;" width="100%"> <tbody> <tr> <td> <p><span style="font-family: helvetica; font-size: medium;">&nbsp;</span></p> <p style="text-align: left;"><span style="font-family: helvetica;"><span style="font-size: small; color: #000000;"><span style="color: #000000;"> September 16th - October 16th<br /></span><span style="font-family: helvetica;"><span style="font-size: small; color: #000000;"><span style="color: #000000;">Opening:&nbsp;</span><span style="font-family: helvetica;"><span style="font-size: small; color: #000000;"><span style="color: #000000;">September 16th 6:00 PM - 8:00 PM </span></span></span></span></span></span></span></p> </td> </tr> </tbody> </table> </td> <!-- Image --> <td style="padding: 10px; border: 2px; border-style: dotted dotted dotted dotted; color: #b2b2b2;" width="300"> <p style="text-align: center;"><span style="font-family: helvetica;"><span style="font-size: small; color: #000000;"><span style="color: #000000;">&nbsp;<a href="http://www.artslant.com/ny/events/show/424162-solo-exhibition" target="_blank"><img title="" src="http://dbprng00ikc2j.cloudfront.net/work/image/1000556/qg7swq/20160727181744-Totality_crop2.jpg" alt="" /></a></span></span></span></p> <!-- Caption --> <p style="text-align: center;"><span style="font-family: helvetica; font-size: x-small; color: #000000;">Katie Paterson<br /> &copy; Courtesy of the Artist and James Cohan Gallery</span></p> </td> </tr> <!-- New Exhibition --> <tr><!-- Exhibition info --> <td style="padding: 10px; border: 2px; border-style: dotted dotted dotted dotted; color: #b2b2b2;" width="300"> <p><strong style="font-size: x-large;"><span style="font-family: helvetica;"><a style="text-decoration: none; color: #00cfa6;" href="http://www.artslant.com/ny/events/show/424030-afteur-pasteur" target="_blank">Slavs &amp; Tatars,<em> Afteur Pasteur</em><br /></a></span></strong></p> <p><span style="font-size: small;"><strong><span style="font-family: helvetica;"><a style="text-decoration: none; color: #00cfa6;" href="http://www.artslant.com/ny/venues/show/533-tanya-bonakdar-gallery" target="_blank">Tanya Bonakdar Gallery</a></span></strong></span><br /><span style="font-family: helvetica;"><span style="font-size: small; color: #000000;"><span style="color: #000000;">521 W. 21st Street<br />New York, NY 10011 <br /></span></span></span></p> <p>&nbsp;</p> <!-- Opening dates --> <table style="vertical-align: baseline; padding: 10px; border: 2px; border-style: dotted none none none;" width="100%"> <tbody> <tr> <td> <p><span style="font-family: helvetica; font-size: medium;">&nbsp;</span></p> <p style="text-align: left;"><span style="font-family: helvetica;"><span style="font-size: small; color: #000000;"><span style="color: #000000;"> September 9&ndash;October 22<br /></span></span></span></p> </td> </tr> </tbody> </table> </td> <!-- Image --> <td style="padding: 10px; border: 2px; border-style: dotted dotted dotted dotted; color: #b2b2b2;" width="300"> <p style="text-align: center;"><span style="font-family: helvetica;"><span style="font-size: small; color: #000000;"><span style="color: #000000;">&nbsp;<a href="http://www.artslant.com/ny/events/show/424030-afteur-pasteur" target="_blank"><img title="" src="http://dbprng00ikc2j.cloudfront.net/work/image/1000173/qg7swq/20160906170056-picklethumb0.jpg" alt="" /></a></span></span></span></p> <!-- Caption --> <p style="text-align: center;"><span style="font-family: helvetica; font-size: x-small; color: #000000;">&copy; Courtesy of the Artist and Tanya Bonakdar Gallery</span></p> </td> </tr> <!-- New Exhibition --> <tr><!-- Exhibition info --> <td style="padding: 10px; border: 2px; border-style: dotted dotted dotted dotted; color: #b2b2b2;" width="300"> <p><strong style="font-size: x-large;"><span style="font-family: helvetica;"><a style="text-decoration: none; color: #00cfa6;" href="http://www.artslant.com/ny/events/show/425852-annotated-muses" target="_blank">Molly Crabapple, <em>Annotated Muses</em><br /></a></span></strong></p> <p><span style="font-size: small;"><strong><span style="font-family: helvetica;"><a style="text-decoration: none; color: #00cfa6;" href="http://www.artslant.com/ny/venues/show/482-postmasters" target="_blank">Postmasters</a></span></strong></span><br /><span style="font-family: helvetica;"><span style="font-size: small; color: #000000;"><span style="color: #000000;">54 Franklin Street <br />New York, NY 10013 <br /></span></span></span></p> <p>&nbsp;</p> <!-- Opening dates --> <table style="vertical-align: baseline; padding: 10px; border: 2px; border-style: dotted none none none;" width="100%"> <tbody> <tr> <td> <p><span style="font-family: helvetica; font-size: medium;">&nbsp;</span></p> <p style="text-align: left;"><span style="font-family: helvetica;"><span style="font-size: small; color: #000000;"><span style="color: #000000;">September 10&ndash;October 15<br /></span><span style="font-family: helvetica;"><span style="font-size: small; color: #000000;"><span style="color: #000000;">Opening:&nbsp;</span><span style="font-family: helvetica;"><span style="font-size: small; color: #000000;"><span style="color: #000000;">September 10, 6&ndash;8pm</span></span></span></span></span></span></span></p> </td> </tr> </tbody> </table> </td> <!-- Image --> <td style="padding: 10px; border: 2px; border-style: dotted dotted dotted dotted; color: #b2b2b2;" width="300"> <p style="text-align: center;"><span style="font-family: helvetica;"><span style="font-size: small; color: #000000;"><span style="color: #000000;">&nbsp;<a href="http://www.artslant.com/ny/events/show/425852-annotated-muses" target="_blank"><img title="" src="http://dbprng00ikc2j.cloudfront.net/work/image/1003479/qg7swq/20160818174839-cannotspeak_lg.jpg" alt="" /></a></span></span></span></p> <!-- Caption --> <p style="text-align: center;"><span style="font-family: helvetica; font-size: x-small; color: #000000;">Molly Crabapple, <em>Natasha Lennard</em>, 2016, mixed media, collage and acrylic on canvas, 48 x 36 inches &copy; Courtesy of the Artist and Postmasters</span></p> </td> </tr> <!-- New Exhibition --> <tr><!-- Exhibition info --> <td style="padding: 10px; border: 2px; border-style: dotted dotted dotted dotted; color: #b2b2b2;" width="300"> <p><strong style="font-size: x-large;"><span style="font-family: helvetica;"><a style="text-decoration: none; color: #00cfa6;" href="http://www.artslant.com/ny/events/show/423992-through-patches-of-corn-wheat-and-mud" target="_blank"><span style="color: #00cfa6;">Oscar Murillo, <em>through patches of corn, wheat and mud</em></span></a><a href="http://www.artslant.com/ny/events/show/425854-blockchain-future-states" target="_blank"><br /></a></span></strong></p> <p><span style="font-size: small;"><strong><span style="font-family: helvetica;"><a style="text-decoration: none; color: #00cfa6;" href="http://www.artslant.com/ny/venues/show/218-david-zwirner--525-w-19th" target="_blank">David Zwirner | 525 W. 19th</a></span></strong></span><br /><span style="font-family: helvetica;"><span style="font-size: small; color: #000000;"><span style="color: #000000;">525 W. 19th Street<br />New York, NY 10011-2808 <br /></span></span></span></p> <p>&nbsp;</p> <p><span style="font-family: helvetica;"><span style="font-size: small; color: #000000;"><span style="color: #000000;"><!-- Opening dates --></span></span></span></p> <table style="vertical-align: baseline; padding: 10px; border: 2px; border-style: dotted none none none;" width="100%"> <tbody> <tr> <td> <p><span style="font-family: helvetica; font-size: medium;">&nbsp;</span></p> <p style="text-align: left;"><span style="font-family: helvetica;"><span style="font-size: small; color: #000000;"><span style="color: #000000;">September 14&ndash;October 22<br /></span><span style="font-family: helvetica;"><span style="font-size: small; color: #000000;"><span style="color: #000000;">Opening:&nbsp;</span><span style="font-family: helvetica;"><span style="font-size: small; color: #000000;"><span style="color: #000000;">September 14, 6&ndash;8pm</span></span></span></span></span></span></span></p> </td> </tr> </tbody> </table> </td> <!-- Image --> <td style="padding: 10px; border: 2px; border-style: dotted dotted dotted dotted; color: #b2b2b2;" width="300"> <p style="text-align: center;"><span style="font-family: helvetica;"><span style="font-size: small; color: #000000;"><span style="color: #000000;">&nbsp;<a href="http://www.artslant.com/ny/events/show/423992-through-patches-of-corn-wheat-and-mud" target="_blank"><img title="" src="http://dbprng00ikc2j.cloudfront.net/work/image/1000134/qg7swq/20160724071501-MUROS0586_still03.jpg" alt="" /></a></span></span></span></p> <!-- Caption --> <p style="text-align: center;"><span style="font-family: helvetica; font-size: x-small; color: #000000;">Oscar Murillo, <em>meet me! Mr. Superman</em>, 2013-2015 (detail of video still), video projection, 1:16 min (loop), color, sound<br /> &copy; Courtesy of the Artist and David Zwirner</span></p> </td> </tr> <!-- New Exhibition --> <tr><!-- Exhibition info --> <td style="padding: 10px; border: 2px; border-style: dotted dotted dotted dotted; color: #b2b2b2;" width="300"> <p><strong style="font-size: x-large;"><span style="font-family: helvetica;"><a style="text-decoration: none; color: #00cfa6;" href="http://www.artslant.com/ny/events/show/425919-the-game-the-game" target="_blank"><span style="color: #00cfa6;">Angela Washko,</span><em style="text-decoration: none; color: #00cfa6;"> The Game: The Game</em></a></span></strong></p> <p><span style="font-size: small;"><strong><span style="font-family: helvetica;"><a style="text-decoration: none; color: #00cfa6;" href="http://www.artslant.com/ny/venues/show/51550-transfer" target="_blank">TRANSFER</a></span></strong></span><br /><span style="font-family: helvetica;"><span style="font-size: small; color: #000000;"><span style="color: #000000;">1030 Metropolitan Avenue<br />Brooklyn, NY 11211&nbsp;</span></span></span></p> <p><a style="text-decoration: none; color: #00cfa6;" href="http://www.artslant.com/global/artists/rackroom/210039-angela-washko" target="_blank"><span style="color: #00cfa6;"><em><strong>Read our interview with Angela Washko</strong></em></span></a></p> <!-- Opening dates --> <table style="vertical-align: baseline; padding: 10px; border: 2px; border-style: dotted none none none;" width="100%"> <tbody> <tr> <td> <p><span style="font-family: helvetica; font-size: medium;">&nbsp;</span></p> <p style="text-align: left;"><span style="font-family: helvetica;"><span style="font-size: small; color: #000000;"><span style="color: #000000;">August 27&ndash;October 8<br /></span><span style="font-family: helvetica;"><span style="font-size: small; color: #000000;"><span style="color: #000000;">Opening:&nbsp;</span><span style="font-family: helvetica;"><span style="font-size: small; color: #000000;"><span style="color: #000000;">September 10, 6&ndash;10pm</span></span></span></span></span></span></span></p> </td> </tr> </tbody> </table> </td> <!-- Image --> <td style="padding: 10px; border: 2px; border-style: dotted dotted dotted dotted; color: #b2b2b2;" width="300"> <p style="text-align: center;"><span style="font-family: helvetica;"><span style="font-size: small; color: #000000;"><span style="color: #000000;">&nbsp;<a href="http://www.artslant.com/ny/events/show/425919-the-game-the-game" target="_blank"><img title="" src="http://dbprng00ikc2j.cloudfront.net/work/image/1003547/qg7swq/20160819173134-website_banner_washko.jpg" alt="" /></a></span></span></span></p> <!-- Caption --> <p style="text-align: center;"><span style="font-family: helvetica; font-size: x-small; color: #000000;">&copy; Courtesy of the Artist and TRANSFER</span></p> </td> </tr> <!-- New Exhibition --> <tr><!-- Exhibition info --> <td style="padding: 10px; border: 2px; border-style: dotted dotted dotted dotted; color: #b2b2b2;" width="300"> <p><strong style="font-size: x-large;"><span style="font-family: helvetica;"><a style="text-decoration: none; color: #00cfa6;" href="http://www.artslant.com/ny/events/show/427373-coming-to-power" target="_blank"><em>COMING TO POWER: 25 Years Of Sexually X-Plicit Art By Women</em><br /></a></span></strong></p> <p><span style="font-size: small;"><strong><span style="font-family: helvetica;"><a style="text-decoration: none; color: #00cfa6;" href="http://www.artslant.com/ny/venues/show/43474-maccarone-greenwich-street" target="_blank">Maccarone | Greenwich Street</a>&nbsp;</span></strong></span><br /><span style="font-family: helvetica;"><span style="font-size: small; color: #000000;"><span style="color: #000000;">630 Greenwich Street&nbsp;<br /></span></span></span></p> <p><span style="font-family: helvetica;"><span style="font-size: small; color: #000000;"><span style="color: #000000;">and <strong><a style="text-decoration: none; color: #00cfa6;" href="http://www.artslant.com/ny/events/show/427373-coming-to-power" target="_blank">Maccarone | Morton Street</a></strong><br />98 Morton Street<br />New York, NY&nbsp;10014<br /><br /></span></span></span></p> <p>&nbsp;</p> <!-- Opening dates --> <table style="vertical-align: baseline; padding: 10px; border: 2px; border-style: dotted none none none;" width="100%"> <tbody> <tr> <td> <p><span style="font-family: helvetica; font-size: medium;">&nbsp;</span></p> <p style="text-align: left;"><span style="font-family: helvetica;"><span style="font-size: small; color: #000000;"><span style="color: #000000;">September 9&ndash;October 16<br /></span></span></span></p> </td> </tr> </tbody> </table> </td> <!-- Image --> <td style="padding: 10px; border: 2px; border-style: dotted dotted dotted dotted; color: #b2b2b2;" width="300"> <p style="text-align: center;"><span style="font-family: helvetica;"><span style="font-size: small; color: #000000;"><span style="color: #000000;">&nbsp;<a href="http://www.artslant.com/ny/events/show/425841-coming-to-power" target="_blank"><img title="" src="http://dbprng00ikc2j.cloudfront.net/work/image/1003473/qg7swq/20160818170922-Eye-Body-5-650x750.jpg" alt="" /></a></span></span></span></p> <!-- Caption --> <p style="text-align: center;"><span style="font-family: helvetica; font-size: x-small; color: #000000;">Carolee Schneemann, <em>Eye Body</em> (From <em>36 Transformative Actions for Camera</em>), 1963/1985, black and white photograph, 20 x 16 inches &copy; Courtesy of Maccarone</span></p> </td> </tr> <!-- New Exhibition --> <tr><!-- Exhibition info --> <td style="padding: 10px; border: 2px; border-style: dotted dotted dotted dotted; color: #b2b2b2;" width="300"> <p><strong style="font-size: x-large;"><span style="font-family: helvetica;"><a style="text-decoration: none; color: #00cfa6;" href="http://www.artslant.com/ny/events/show/427376-solo-exhibition" target="_blank">Lorna Simpson</a></span></strong></p> <p><span style="font-size: small;"><strong><span style="font-family: helvetica;"><a style="text-decoration: none; color: #00cfa6;" href="http://www.artslant.com/ny/venues/show/17017-salon-94-bowery" target="_blank">Salon 94 | Bowery</a></span></strong></span><br /><span style="font-family: helvetica;"><span style="font-size: small; color: #000000;"><span style="color: #000000;">243 Bowery&nbsp;<br />New York, NY&nbsp;10002<br /></span></span></span></p> <p>&nbsp;</p> <!-- Opening dates --> <table style="vertical-align: baseline; padding: 10px; border: 2px; border-style: dotted none none none;" width="100%"> <tbody> <tr> <td> <p><span style="font-family: helvetica; font-size: medium;">&nbsp;</span></p> <p style="text-align: left;"><span style="font-family: helvetica;"><span style="font-size: small; color: #000000;"><span style="color: #000000;">September 8&ndash;October 22</span><span style="font-family: helvetica;"><span style="font-size: small; color: #000000;"><span style="color: #000000;"><br /></span></span></span></span></span></p> </td> </tr> </tbody> </table> </td> <!-- Image --> <td style="padding: 10px; border: 2px; border-style: dotted dotted dotted dotted; color: #b2b2b2;" width="300"> <p style="text-align: center;"><span style="font-family: helvetica;"><span style="font-size: small; color: #000000;"><span style="color: #000000;">&nbsp;<a href="http://www.artslant.com/ny/events/show/427376-solo-exhibition" target="_blank"><img title="" src="http://dbprng00ikc2j.cloudfront.net/work/image/1006217/qg7swq/20160905153805-Soundlessness_LSimpson2016.jpg" alt="" /></a></span></span></span></p> <!-- Caption --> <p style="text-align: center;"><span style="font-family: helvetica; font-size: x-small; color: #000000;">Lorna Simpson &copy; Courtesy of the Artist and Salon 94 Bowery</span></p> </td> </tr> <!-- New Exhibition --> <tr><!-- Exhibition info --> <td style="padding: 10px; border: 2px; border-style: dotted dotted dotted dotted; color: #b2b2b2;" width="300"> <p><strong style="font-size: x-large;"><span style="font-family: helvetica;"><a style="text-decoration: none; color: #00cfa6;" href="http://www.artslant.com/ny/events/show/425905-rehearsal" target="_blank"><span style="color: #00cfa6;">Cecily Brown, </span><em style="text-decoration: none; color: #00cfa6;">Rehearsal</em></a></span></strong></p> <p><span style="font-size: small;"><strong><span style="font-family: helvetica;"><a style="text-decoration: none; color: #00cfa6;" href="http://www.artslant.com/ny/venues/show/1987-the-drawing-center" target="_blank">The Drawing Center</a></span></strong></span><br /><span style="font-family: helvetica;"><span style="font-size: small; color: #000000;"><span style="color: #000000;">35 Wooster Street<br />New York, NY&nbsp;10013</span></span></span></p> <p><span style="color: #00cfa6;"><em><strong><a style="text-decoration: none; color: #00cfa6;" href="http://www.artslant.com/global/artists/rackroom/5311-cecily-brown" target="_blank">Read our interview with Cecily Brown</a></strong></em></span></p> <!-- Opening dates --> <table style="vertical-align: baseline; padding: 10px; border: 2px; border-style: dotted none none none;" width="100%"> <tbody> <tr> <td> <p><span style="font-family: helvetica; font-size: medium;">&nbsp;</span></p> <p style="text-align: left;"><span style="font-family: helvetica;"><span style="font-size: small; color: #000000;"><span style="color: #000000;">October 7&ndash;December 18<br /></span><span style="font-family: helvetica;"><span style="font-size: small; color: #000000;"><span style="color: #000000;">Opening:&nbsp;</span><span style="font-family: helvetica;"><span style="font-size: small; color: #000000;"><span style="color: #000000;">October 7, 6&ndash;8pm</span></span></span></span></span></span></span></p> </td> </tr> </tbody> </table> </td> <!-- Image --> <td style="padding: 10px; border: 2px; border-style: dotted dotted dotted dotted; color: #b2b2b2;" width="300"> <p style="text-align: center;"><span style="font-family: helvetica;"><span style="font-size: small; color: #000000;"><span style="color: #000000;">&nbsp;<a href="http://www.artslant.com/ny/events/show/425905-rehearsal" target="_blank"><img title="" src="http://dbprng00ikc2j.cloudfront.net/work/image/1003537/qg7swq/20160819170435-f102fcf099f5bcab0b25e56d573f4c05e5bdae1a.jpg" alt="" /></a></span></span></span></p> <!-- Caption --> <p style="text-align: center;"><span style="font-family: helvetica; font-size: x-small; color: #000000;">Cecily Brown, <em>Strolling Actresses (After Hogarth)</em>, 2015, watercolor and ink on paper, 51 1/2 x 79 inches &copy; Courtesy of the artist</span></p> </td> </tr> <!-- New Exhibition --> <tr><!-- Exhibition info --> <td style="padding: 10px; border: 2px; border-style: dotted dotted dotted dotted; color: #b2b2b2;" width="300"> <p><strong style="font-size: x-large;"><span style="font-family: helvetica;"><a style="text-decoration: none; color: #00cfa6;" href="http://www.artslant.com/ny/events/show/427484-geometry-and-symmetry" target="_blank">Rasheed Araeen, <em>Geometry and Symmetry</em><br /></a></span></strong></p> <p><span style="font-size: small;"><strong><span style="font-family: helvetica;"><a style="text-decoration: none; color: #00cfa6;" href="http://www.artslant.com/ny/venues/show/10687-aicon-gallery---new-york" target="_blank">AICON Gallery</a></span></strong></span><br /><span style="font-family: helvetica;"><span style="font-size: small; color: #000000;"><span style="color: #000000;">35 Great Jones Street&nbsp;<br />New York, NY&nbsp;10012&nbsp;<br /></span></span></span></p> <p>&nbsp;</p> <!-- Opening dates --> <table style="vertical-align: baseline; padding: 10px; border: 2px; border-style: dotted none none none;" width="100%"> <tbody> <tr> <td> <p><span style="font-family: helvetica; font-size: medium;">&nbsp;</span></p> <p style="text-align: left;"><span style="font-family: helvetica;"><span style="font-size: small; color: #000000;"><span style="color: #000000;">September 20&ndash;October 15<br /></span><span style="font-family: helvetica;"><span style="font-size: small; color: #000000;"><span style="color: #000000;">Opening:&nbsp;</span><span style="font-family: helvetica;"><span style="font-size: small; color: #000000;"><span style="color: #000000;">September 20, 6&ndash;8pm</span></span></span></span></span></span></span></p> </td> </tr> </tbody> </table> </td> <td style="padding: 10px; border: 2px; border-style: dotted dotted dotted dotted; color: #b2b2b2;" width="300"> <p style="text-align: center;"><span style="font-family: helvetica;"><span style="font-size: small; color: #000000;"><span style="color: #000000;">&nbsp;<a href="http://www.artslant.com/ny/events/show/427484-geometry-and-symmetry" target="_blank"><img src="http://dbprng00ikc2j.cloudfront.net/work/image/1006386/qg7swq/20160906151138-ccc6954fe351df9ff6c137b5ac2a8729.jpeg" alt="" /></a></span></span></span></p> <!-- Caption --> <p style="text-align: center;"><span style="font-family: helvetica; font-size: x-small; color: #000000;">Rasheed Araeen, <em>Neeley Hey Neeley (Blues 'n Blues)</em>, 2016, wood and paint, 66 x 144 in. &copy; Courtesy of the Artist and AICON GALLERY - New York</span></p> </td> </tr> <!-- New Exhibition --> <tr><!-- Exhibition info --> <td style="padding: 10px; border: 2px; border-style: dotted dotted dotted dotted; color: #b2b2b2;" width="300"> <p><strong style="font-size: x-large;"><span style="font-family: helvetica;"><a style="text-decoration: none; color: #00cfa6;" href="http://www.artslant.com/ny/events/show/427067-when-the-smoke-clears-the-fair-housing-project" target="_blank">Ghost of a Dream, <em>When the Smoke Clears: The Fair Housing Project</em><br /></a></span></strong></p> <p><span style="font-size: small;"><strong><span style="font-family: helvetica;"><a style="text-decoration: none; color: #00cfa6;" href="http://www.artslant.com/ny/venues/show/1262-smack-mellon" target="_blank">Smack Mellon</a></span></strong></span><br /><span style="font-family: helvetica;"><span style="font-size: small; color: #000000;"><span style="font-family: helvetica;"><span style="font-size: small; color: #000000;"><span style="color: #000000;">92 Plymouth Street<br />Brooklyn, NY&nbsp;11201&nbsp;</span>&nbsp;</span></span></span></span></p> <p>&nbsp;</p> <!-- Opening dates --> <table style="vertical-align: baseline; padding: 10px; border: 2px; border-style: dotted none none none;" width="100%"> <tbody> <tr> <td> <p><span style="font-family: helvetica; font-size: medium;">&nbsp;</span></p> <p style="text-align: left;"><span style="font-family: helvetica;"><span style="font-size: small; color: #000000;"><span style="color: #000000;">September 24&ndash;October 30<br /></span><span style="font-family: helvetica;"><span style="font-size: small; color: #000000;"><span style="color: #000000;">Opening:&nbsp;</span><span style="font-family: helvetica;"><span style="font-size: small; color: #000000;"><span style="color: #000000;">September 24, 6&ndash;8pm</span></span></span></span></span></span></span></p> </td> </tr> </tbody> </table> </td> <td style="padding: 10px; border: 2px; border-style: dotted dotted dotted dotted; color: #b2b2b2;" width="300"> <p style="text-align: center;"><span style="font-family: helvetica;"><span style="font-size: small; color: #000000;"><span style="color: #000000;">&nbsp;<a href="http://www.artslant.com/ny/events/show/427067-when-the-smoke-clears-the-fair-housing-project" target="_blank"><img title="" src="http://dbprng00ikc2j.cloudfront.net/work/image/1005662/qg7swq/20160901184259-Ghost_SM_Postcards.jpg" alt="" /></a></span></span></span></p> <!-- Caption --> <p style="text-align: center;"><span style="font-family: helvetica; font-size: x-small; color: #000000;">Ghost of A Dream, <em>When the Smoke Clears: The Fair Housing Projec</em>t, Video still</span></p> </td> </tr> <!-- New Exhibition --> <tr><!-- Exhibition info --> <td style="padding: 10px; border: 2px; border-style: dotted dotted dotted dotted; color: #b2b2b2;" width="300"> <p><strong style="font-size: x-large;"><span style="font-family: helvetica;"><a style="text-decoration: none; color: #00cfa6;" href="http://www.artslant.com/ny/events/show/427575-an-occupation-of-loss" target="_blank"><span style="color: #00cfa6;">Taryn Simon,&nbsp;<em>An Occupation of Loss</em><br /></span></a></span></strong></p> <p><span style="font-size: small;"><strong><span style="font-family: helvetica;"><a style="text-decoration: none; color: #00cfa6;" href="http://www.artslant.com/ny/venues/show/15494-park-avenue-armory" target="_blank">Park Avenue Armory</a></span></strong></span><br /><span style="font-family: helvetica;"><span style="font-size: small; color: #000000;"><span style="color: #000000;">643 Park Avenue<br />New York, NY&nbsp;10065<br /></span></span></span></p> <p>&nbsp;</p> <!-- Opening dates --> <table style="vertical-align: baseline; padding: 10px; border: 2px; border-style: dotted none none none;" width="100%"> <tbody> <tr> <td> <p><span style="font-family: helvetica; font-size: medium;">&nbsp;</span></p> <p style="text-align: left;"><span style="font-family: helvetica;"><span style="font-size: small; color: #000000;"><span style="color: #000000;">September 13&ndash;25</span></span></span></p> </td> </tr> </tbody> </table> </td> <!-- Image --> <td style="padding: 10px; border: 2px; border-style: dotted dotted dotted dotted; color: #b2b2b2;" width="300"> <p style="text-align: center;"><span style="font-family: helvetica;"><span style="font-size: small; color: #000000;"><span style="color: #000000;">&nbsp;<a href="http://www.artslant.com/ny/events/show/427575-an-occupation-of-loss" target="_blank"><img title="" src="http://dbprng00ikc2j.cloudfront.net/work/image/1006509/qg7swq/20160907112755-an-occupation-of-loss-rendering-by-oma-new-york_fw.jpg" alt="" /></a></span></span></span></p> <!-- Caption --> <p style="text-align: center;"><span style="font-family: helvetica; font-size: x-small; color: #000000;">Taryn Simon, <em>An Occupation of Loss</em>, Rendering for Park Avenue Armory by OMA New York &copy; Courtesy of the artist and OMA</span></p> </td> </tr> <!-- New Exhibition --> <tr><!-- Exhibition info --> <td style="padding: 10px; border: 2px; border-style: dotted dotted dotted dotted; color: #b2b2b2;" width="300"> <p><strong style="font-size: x-large;"><span style="font-family: helvetica;"><a style="text-decoration: none; color: #00cfa6;" href="http://www.artslant.com/ny/events/show/424794-whos-exploiting-who-in-the-deep-sea" target="_blank"><span style="color: #00cfa6;">Cosima von Bonin, <em>Who's Exploiting Who in the Deep Blue Sea?</em><br /></span></a></span></strong></p> <p><span style="font-size: small;"><strong><span style="font-family: helvetica;"><a style="text-decoration: none; color: #00cfa6;" href="http://www.artslant.com/ny/venues/show/2136-sculpture-center" target="_blank">Sculpture Center</a></span></strong></span><br /><span style="font-family: helvetica;"><span style="font-size: small; color: #000000;"><span style="color: #000000;">44-19 Purves Street<br />Long Island City, NY&nbsp;11101<br /></span></span></span></p> <p>&nbsp;</p> <!-- Opening dates --> <table style="vertical-align: baseline; padding: 10px; border: 2px; border-style: dotted none none none;" width="100%"> <tbody> <tr> <td> <p><span style="font-family: helvetica; font-size: medium;">&nbsp;</span></p> <p style="text-align: left;"><span style="font-family: helvetica;"><span style="font-size: small; color: #000000;"><span style="color: #000000;">September 19, 2016&ndash;January 2, 2017<br /></span><span style="font-family: helvetica;"><span style="font-size: small; color: #000000;"><span style="color: #000000;">Opening:&nbsp;</span><span style="font-family: helvetica;"><span style="font-size: small; color: #000000;"><span style="color: #000000;">September 18, 5&ndash;7pm</span></span></span></span></span></span></span></p> </td> </tr> </tbody> </table> </td> <td style="padding: 10px; border: 2px; border-style: dotted dotted dotted dotted; color: #b2b2b2;" width="300"> <p style="text-align: center;"><span style="font-family: helvetica;"><span style="font-size: small; color: #000000;"><span style="color: #000000;">&nbsp;<a href="http://www.artslant.com/ny/events/show/424794-whos-exploiting-who-in-the-deep-sea" target="_blank"><img title="" src="http://dbprng00ikc2j.cloudfront.net/work/image/1001831/qg7swq/20160805193104-Cosima_L_2.jpg" alt="" /></a></span></span></span></p> <!-- Caption --> <p style="text-align: center;"><span style="font-family: helvetica; font-size: x-small; color: #000000;">Cosima von Bonin, <em>SCALLOPS (DARK VERSION), ROCKING</em>, 2014 &copy; Courtesy the artist and Petzel, New York</span></p> </td> </tr> <!-- New Exhibition --> <tr><!-- Exhibition info --> <td style="padding: 10px; border: 2px; border-style: dotted dotted dotted dotted; color: #b2b2b2;" width="300"> <p><strong style="font-size: x-large;"><span style="font-family: helvetica;"><a style="text-decoration: none; color: #00cfa6;" href="http://www.artslant.com/ny/events/show/426796-new-work" target="_blank"><span style="color: #00cfa6;">Lynda Benglis, <em>New Work</em><br /></span></a></span></strong></p> <p><span style="font-size: small;"><strong><span style="font-family: helvetica;"><a style="text-decoration: none; color: #00cfa6;" href="http://www.artslant.com/ny/venues/show/277-cheim-read" target="_blank">Cheim &amp; Read</a></span></strong></span><br /><span style="font-family: helvetica;"><span style="font-size: small; color: #000000;"><span style="color: #000000;">547 West 25th St<br />New York, NY&nbsp;10001&nbsp;<br /></span></span></span></p> <p>&nbsp;</p> <!-- Opening dates --> <table style="vertical-align: baseline; padding: 10px; border: 2px; border-style: dotted none none none;" width="100%"> <tbody> <tr> <td> <p><span style="font-family: helvetica; font-size: medium;">&nbsp;</span></p> <p style="text-align: left;"><span style="font-family: helvetica;"><span style="font-size: small; color: #000000;"><span style="color: #000000;">September 8&ndash;October 22<br /></span><span style="font-family: helvetica;"><span style="font-size: small; color: #000000;"><span style="color: #000000;">Opening:&nbsp;</span><span style="font-family: helvetica;"><span style="font-size: small; color: #000000;"><span style="color: #000000;">September 8, 6&ndash;8pm</span></span></span></span></span></span></span></p> </td> </tr> </tbody> </table> </td> <td style="padding: 10px; border: 2px; border-style: dotted dotted dotted dotted; color: #b2b2b2;" width="300"> <p style="text-align: center;"><span style="font-family: helvetica;"><span style="font-size: small; color: #000000;"><span style="color: #000000;">&nbsp;<a href="http://www.artslant.com/ny/events/show/426796-new-work" target="_blank"><img title="" src="http://dbprng00ikc2j.cloudfront.net/work/image/1005027/qg7swq/20160830180742-l.jpg" alt="" /></a></span></span></span></p> <!-- Caption --> <p style="text-align: center;"><span style="font-family: helvetica; font-size: x-small; color: #000000;">Lynda Benglis, <em>Lure</em>, 2016, handmade paper over chicken wire, cast glitter on handmade paper, ground coal with matte medium, 36 x 26 x 19 in 91.4 x 66 x 48.3 cm &copy; Courtesy of the Artist and Cheim &amp; Read</span></p> </td> </tr> </tbody> </table> <p><span style="font-family: georgia, palatino; font-size: x-small;">&nbsp;</span></p> <p><span style="font-family: georgia, palatino; font-size: x-small;">&nbsp;</span></p> <p><span style="font-family: georgia, palatino; font-size: x-small;">(Image at top: Random International,&nbsp;<em>Study for Fifteen Points / I</em>, 2016, motors, custom driver electronics, custom software, aluminium, LEDs, computer , 71.2 cm x 55.2 cm x 60.6 cm (28-1/16" x 21-3/4" x 23-7/8") &copy; Courtesy of the Artist and Pace Gallery)</span></p> Wed, 07 Sep 2016 14:20:22 +0000 http://www.artslant.com/trn/Articles/list http://www.artslant.com/trn/Articles/list The Must-See Museum Exhibitions This Fall <table width="300" align="right"> <tbody> <tr> <td style="padding: 10px;" align="right" bgcolor="#efefef"> <p style="text-align: left;"><span style="font-family: georgia, palatino; font-size: medium; line-height: 26px;">Jump to:</span></p> <p style="text-align: left;"><span style="font-family: georgia, palatino; font-size: medium; line-height: 26px;"><a style="text-decoration: none; color: #00cfa6;" href="#NYC">New York</a><br /><a style="text-decoration: none; color: #00cfa6;" href="#LA">Los Angeles</a><br /><a style="text-decoration: none; color: #00cfa6;" href="#Chicago">Chicago</a><br /><a style="text-decoration: none; color: #00cfa6;" href="#SF">San Francisco</a><br /><a style="text-decoration: none; color: #00cfa6;" href="#USA">United States and Mexico</a><br /><a style="text-decoration: none; color: #00cfa6;" href="#London">London<br /></a><a style="text-decoration: none; color: #00cfa6;" href="#Europe">Paris, Berlin, Across Europe and Beyond...</a><br /></span></p> </td> </tr> </tbody> </table> <table width="400" align="left"> <tbody> <tr> <td> <p><span style="font-family: georgia, palatino; font-size: medium; line-height: 26px;">One of the most satisfying things about September is watching the event listings in our calendar creep up from summer&rsquo;s dearth and transform into the absolute glut of openings that is the Fall art season. You&rsquo;ll be spoiled for choice this autumn, with galleries and museums staging their best. </span></p> <p><span style="font-family: georgia, palatino; font-size: medium; line-height: 26px;">From our calendar to yours, these are the shows at museums and art spaces in the U.S. and further afield we&rsquo;re most excited to see this season.</span>&nbsp;</p> </td> </tr> </tbody> </table> <table width="100%" align="center"> <tbody> <tr> <td style="padding: 10px;" align="right" bgcolor="#efefef"> <p><em><span style="font-family: georgia, palatino; font-size: medium; line-height: 26px;">Get the most out of the <strong><a style="text-decoration: none; color: #00cfa6;" href="http://www.artslant.com/global/events/list?listtype=openings" target="_blank">ArtSlant Calendar</a></strong>! Plan gallery and museum trips, map venues and events, share exhibitions with friends, and follow your favorite artists by using our <strong><a style="text-decoration: none; color: #00cfa6;" href="http://www.artslant.com/global/articles/show/8691" target="_blank">mylist</a></strong>&nbsp;and artist&nbsp;<strong><a style="text-decoration: none; color: #00cfa6;" href="http://www.artslant.com/global/articles/show/11143" target="_blank">watchlist</a></strong> features.</span></em></p> </td> </tr> </tbody> </table> <p><em><span style="font-family: georgia, palatino; font-size: medium; line-height: 26px;">&nbsp;</span></em></p> <table style="border: 2px; border-style: none none dotted none; border-color: #b2b2b2;" width="100%"> <tbody> <tr> <td>&nbsp;</td> </tr> <tr><!-- City --> <td colspan="2">&nbsp;<a name="NYC"></a><em><strong><span style="font-size: xx-large; font-family: arial, helvetica, sans-serif; padding: 10px;">New York</span></strong></em></td> </tr> <tr><!-- Exhibition info --> <td style="border: 2px; border-style: dotted dotted dotted dotted; border-color: #b2b2b2; padding: 10px;" width="300"> <p><strong style="font-size: x-large;"><span style="font-family: helvetica;"><a style="text-decoration: none; color: #00cfa6;" href="http://www.artslant.com/ny/events/show/427377-a-feast-of-astonishments-charlotte-moorman-and-the-avant-garde-1960s1980s">Charlotte Moorman, <em>A Feast of Astonishments: Charlotte Moorman and the Avant-Garde, 1960s&ndash;1980</em><br /></a></span></strong></p> <p><span style="font-family: helvetica; font-size: small;">Curated by:&nbsp;<a style="text-decoration: none; color: #00cfa6;" href="http://www.artslant.com/ny/artists/show/445483-lisa-g-corrin" target="_blank">Lisa G. Corrin</a>,&nbsp;<a style="text-decoration: none; color: #00cfa6;" href="http://www.artslant.com/ny/artists/show/445484-corinne-granof" target="_blank">Corinne Granof</a>,&nbsp;<a style="text-decoration: none; color: #00cfa6;" href="http://www.artslant.com/ny/artists/show/445486-laura-wertheim-joseph" target="_blank">Laura Wertheim Joseph</a>,&nbsp;<a style="text-decoration: none; color: #00cfa6;" href="http://www.artslant.com/ny/artists/show/445485-scott-krafft" target="_blank">Scott Krafft</a>,&nbsp;<a style="text-decoration: none; color: #00cfa6;" href="http://www.artslant.com/ny/artists/show/407906-michelle-puetz" target="_blank">Michelle Puetz</a>,&nbsp;<a style="text-decoration: none; color: #00cfa6;" href="http://www.artslant.com/ny/artists/show/405103-joan-rothfuss" target="_blank">Joan Rothfuss</a><br /></span></p> <p><span style="font-size: small;"><strong><span style="font-family: helvetica;"><a style="text-decoration: none; color: #00cfa6;" href="http://www.artslant.com/ny/venues/show/6604-grey-art-gallery" target="_blank">Grey Art Gallery | New York University</a></span></strong></span><br /><span style="font-family: helvetica; font-size: small;">100 Washington Square East <br />New York, NY 10003</span><span style="font-family: helvetica; font-size: medium;"><span style="font-size: small;"><br /></span></span></p> <p>&nbsp;</p> <!-- Opening dates --> <table style="vertical-align: baseline; padding: 10px; border: 2px; border-style: dotted none none none;"> <tbody> <tr> <td> <p><span style="font-family: helvetica; font-size: medium;">&nbsp;</span></p> <p style="text-align: left;"><span style="font-family: helvetica; font-size: small;">September 8&ndash;December 10<br /></span><span style="font-family: helvetica; font-size: small;">Opening:&nbsp;</span><span style="font-family: helvetica; font-size: small;">September 7, 6&ndash;8pm</span></p> </td> </tr> </tbody> </table> </td> <!-- Image --> <td style="border: 2px; border-style: dotted dotted dotted dotted; border-color: #b2b2b2; padding: 10px;" width="300"> <p style="text-align: center;"><span style="font-family: helvetica; font-size: small;">&nbsp;<a href="http://www.artslant.com/ny/events/show/427377-a-feast-of-astonishments-charlotte-moorman-and-the-avant-garde-1960s1980s" target="_blank"><img src="http://dbprng00ikc2j.cloudfront.net/work/image/1006218/qg7swq/20160905155243-15-960x1373.jpg" alt="" /></a></span></p> <!-- Caption --> <p style="text-align: center;"><span style="font-family: helvetica; font-size: x-small;">Vin Grabill,&nbsp;<em>Charlotte Moorman performs Nam June Paik&rsquo;s TV Bra for Living Sculpture on the roof of her loft,&nbsp;</em>62 Pearl Street, New York, July 30, 1982<br />&copy; Vin Grabill<br /></span></p> </td> </tr> <!-- New Exhibition --> <tr><!-- Exhibition info --> <td style="border: 2px; border-style: dotted dotted dotted dotted; border-color: #b2b2b2; padding: 10px;" width="300"> <p><em><strong style="font-size: x-large;"><span style="font-family: helvetica;"><a style="text-decoration: none; color: #00cfa6;" href="http://www.artslant.com/ny/events/show/427431-take-me-im-yours" target="_blank">Take Me (I'm Yours)</a></span></strong></em></p> <p><span style="font-family: helvetica; font-size: small;">Curated by:&nbsp;<a style="text-decoration: none; color: #00cfa6;" href="http://www.artslant.com/ny/artists/show/10896-jens-hoffmann" target="_blank">Jens Hoffmann</a>,&nbsp;<a style="text-decoration: none; color: #00cfa6;" href="http://www.artslant.com/ny/artists/show/103503-hans-ulrich-obrist" target="_blank">Hans Ulrich Obrist</a>,&nbsp;<a style="text-decoration: none; color: #00cfa6;" href="http://www.artslant.com/ny/artists/show/254547-kelly-taxter" target="_blank">Kelly Taxter</a><a style="text-decoration: none; color: #00cfa6;" href="http://www.artslant.com/chi/artists/show/316230-solveig-%C3%98vsteb%C3%B8"><br /></a></span></p> <p><span style="font-size: small;"><strong><span style="font-family: helvetica;"><a style="text-decoration: none; color: #00cfa6;" href="http://www.artslant.com/ny/venues/show/9782-the-jewish-museum" target="_blank">The Jewish Museum</a></span></strong></span><br /><span style="font-family: helvetica; font-size: small;">1109 Fifth Avenue (at 92nd Street) <br />New York, NY 10128</span><span style="font-family: helvetica; font-size: medium;"><span style="font-size: small;"><br /></span></span></p> <p>&nbsp;</p> <!-- Opening dates --> <table style="vertical-align: baseline; padding: 10px; border: 2px; border-style: dotted none none none;"> <tbody> <tr> <td> <p><span style="font-family: helvetica; font-size: medium;">&nbsp;</span></p> <p style="text-align: left;"><span style="font-family: helvetica; font-size: small;">September 16, 2016&ndash;February 5, 2017<br /></span><span style="font-family: helvetica; font-size: small;">Opening:&nbsp;</span><span style="font-family: helvetica; font-size: small;">September 16, 11am&ndash;5:45pm</span></p> </td> </tr> </tbody> </table> </td> <!-- Image --> <td style="border: 2px; border-style: dotted dotted dotted dotted; border-color: #b2b2b2; padding: 10px;" width="300"> <p style="text-align: center;"><span style="font-family: helvetica; font-size: small;">&nbsp;<a href="http://www.artslant.com/ny/events/show/427431-take-me-im-yours" target="_blank"><img title="" src="http://dbprng00ikc2j.cloudfront.net/work/image/1006274/qg7swq/20160905190718-TJM_663-TakeMe_F015-Holler.jpg" alt="" /></a></span></p> <!-- Caption --> <p style="text-align: center;"><span style="font-family: helvetica; font-size: x-small;">Carsten H&ouml;ller, <em>Pill Clock (blue and white pills)</em>, 2015, gelatine capsules, placebo, mechanical drop mechanism, control unit, wooden box, water dispenser &copy; Courtesy of the Artist and The Jewish Museum</span></p> </td> </tr> <!-- New Exhibition --> <tr><!-- Exhibition info --> <td style="border: 2px; border-style: dotted dotted dotted dotted; border-color: #b2b2b2; padding: 10px;" width="300"> <p><strong style="font-size: x-large;"><span style="font-family: helvetica;"><a style="text-decoration: none; color: #00cfa6;" href="http://www.artslant.com/ny/events/show/427391-lines-of-sight" target="_blank"><span style="color: #00cfa6;">Carmen Herrera, </span><em style="text-decoration: none; color: #00cfa6;">Lines of Sight</em></a></span></strong></p> <p><span style="font-size: small;"><strong><span style="font-family: helvetica;"><a style="text-decoration: none; color: #00cfa6;" href="http://www.artslant.com/ny/venues/show/593-whitney-museum-of-american-art" target="_blank">Whitney Museum of American Art</a></span></strong></span><br /><span style="font-family: helvetica; font-size: small;">99 Gansevoort Street<br />New York, NY&nbsp;10014<br /></span></p> <p>&nbsp;</p> <!-- Opening dates --> <table style="vertical-align: baseline; padding: 10px; border: 2px; border-style: dotted none none none;"> <tbody> <tr> <td> <p><span style="font-family: helvetica; font-size: medium;">&nbsp;</span></p> <p style="text-align: left;"><span style="font-family: helvetica; font-size: small;">September 16, 2016&ndash;January 2, 2017<br /></span><span style="font-family: helvetica; font-size: small;">Opening:&nbsp;</span><span style="font-family: helvetica; font-size: small;">September 16, 11am&ndash;9pm</span></p> </td> </tr> </tbody> </table> </td> <!-- Image --> <td style="border: 2px; border-style: dotted dotted dotted dotted; border-color: #b2b2b2; padding: 10px;" width="300"> <p style="text-align: center;"><span style="font-family: helvetica; font-size: small;">&nbsp;<a href="http://www.artslant.com/ny/events/show/427391-lines-of-sight" target="_blank"><img title="" src="http://dbprng00ikc2j.cloudfront.net/work/image/1006227/qg7swq/20160905163407-187950_1140.jpg" alt="" /></a></span></p> <!-- Caption --> <p style="text-align: center;"><span style="font-family: helvetica; font-size: x-small;">Carmen Herrera,<em> Blanco y Verde</em>, 1959, acrylic on canvas, two panels: 68 1/8 &times; 60 1/2 in. (173 &times; 153.7 cm) overall. Whitney Museum of American Art, New York; purchase, with funds from the Painting and Sculpture Committee 2014.63 &copy; Carmen Herrera; courtesy Lisson Gallery, London</span></p> </td> </tr> <!-- New Exhibition --> <tr><!-- Exhibition info --> <td style="border: 2px; border-style: dotted dotted dotted dotted; border-color: #b2b2b2; padding: 10px;" width="300"> <p><strong style="font-size: x-large;"><span style="font-family: helvetica;"><a style="text-decoration: none; color: #00cfa6;" href="http://www.artslant.com/ny/events/show/427277-solo-exhibition" target="_blank">Agnes Martin</a></span></strong></p> <p><span style="font-family: helvetica; font-size: small;">Curated by:&nbsp;<a style="text-decoration: none; color: #00cfa6;" href="http://www.artslant.com/ny/artists/show/103053-tracey-bashkoff" target="_blank">Tracey Bashkoff</a>,&nbsp;<a style="text-decoration: none; color: #00cfa6;" href="http://www.artslant.com/ny/artists/show/118053-tiffany-bell" target="_blank">Tiffany Bell</a><a style="text-decoration: none; color: #00cfa6;" href="http://www.artslant.com/chi/artists/show/316230-solveig-%C3%98vsteb%C3%B8"><br /></a></span></p> <p><span style="font-size: small;"><strong><span style="font-family: helvetica;"><a style="text-decoration: none; color: #00cfa6;" href="http://www.artslant.com/ny/venues/show/576-solomon-r-guggenheim-museum" target="_blank">Solomon R. Guggenheim Museum</a></span></strong></span><br /><span style="font-family: helvetica; font-size: small;">1071 Fifth Ave.<br />New York, NY&nbsp;10128-0173</span></p> <p>&nbsp;</p> <!-- Opening dates --> <table style="vertical-align: baseline; padding: 10px; border: 2px; border-style: dotted none none none;"> <tbody> <tr> <td> <p><span style="font-family: helvetica; font-size: medium;">&nbsp;</span></p> <p style="text-align: left;"><span style="font-family: helvetica; font-size: small;">October 7, 2016&ndash;January 11, 2017<br /></span><span style="font-family: helvetica; font-size: small;">Opening:&nbsp;</span><span style="font-family: helvetica; font-size: small;">October 7, 10am&ndash;7:45pm</span></p> </td> </tr> </tbody> </table> </td> <!-- Image --> <td style="border: 2px; border-style: dotted dotted dotted dotted; border-color: #b2b2b2; padding: 10px;" width="300"> <p style="text-align: center;"><span style="font-family: helvetica; font-size: small;">&nbsp;<a href="http://www.artslant.com/ny/events/show/427277-solo-exhibition" target="_blank"><img title="" src="http://dbprng00ikc2j.cloudfront.net/work/image/1006044/qg7swq/20160904151435-art-agnes-martin-untitled-78.2415-whitebackground.jpg" alt="" /></a></span></p> <!-- Caption --> <p style="text-align: center;"><span style="font-family: helvetica; font-size: x-small;">Agnes Martin, <em>Untitled</em>, 1977, watercolor and graphite on paper, 9 x 9 inches (22.9 x 22.9 cm) &copy; Courtesy of Solomon R. Guggenheim Museum</span></p> </td> </tr> <!-- New Exhibition --> <tr><!-- Exhibition info --> <td style="border: 2px; border-style: dotted dotted dotted dotted; border-color: #b2b2b2; padding: 10px;" width="300"> <p><strong style="font-size: x-large;"><span style="font-family: helvetica;"><a style="text-decoration: none; color: #00cfa6;" href="http://www.artslant.com/ny/events/show/427370-ruins-and-rituals" target="_blank">Beverly Buchanan, <em>Ruins and Rituals</em><br /></a></span></strong></p> <p><span style="font-family: helvetica; font-size: small;">Curated by:&nbsp;<a style="text-decoration: none; color: #00cfa6;" href="http://www.artslant.com/ny/artists/show/466373-jennifer-burris" target="_blank">Jennifer Burris</a>,&nbsp;<a style="text-decoration: none; color: #00cfa6;" href="http://www.artslant.com/ny/artists/show/240729-park-mcarthur" target="_blank">Park McArthur</a>&nbsp;</span></p> <p><span style="font-size: small;"><strong><span style="font-family: helvetica;"><a style="text-decoration: none; color: #00cfa6;" href="http://www.artslant.com/ny/venues/show/625-brooklyn-museum-of-art" target="_blank">Brooklyn Museum of Art</a></span></strong></span><br /><span style="font-family: helvetica; font-size: small;">200 Eastern Parkway<br />Brooklyn, NY&nbsp;11238-6052<br /></span></p> <p>&nbsp;</p> <!-- Opening dates --> <table style="vertical-align: baseline; padding: 10px; border: 2px; border-style: dotted none none none;"> <tbody> <tr> <td> <p><span style="font-family: helvetica; font-size: medium;">&nbsp;</span></p> <p style="text-align: left;"><span style="font-family: helvetica; font-size: small;">October 21, 2016&ndash;March 5, 2017<br /></span><span style="font-family: helvetica; font-size: small;">Opening:&nbsp;</span><span style="font-family: helvetica; font-size: small;">October 21, 11am&ndash;6pm</span></p> </td> </tr> </tbody> </table> </td> <!-- Image --> <td style="border: 2px; border-style: dotted dotted dotted dotted; border-color: #b2b2b2; padding: 10px;" width="300"> <p style="text-align: center;"><span style="font-family: helvetica; font-size: small;">&nbsp;<a href="http://www.artslant.com/ny/events/show/427370-ruins-and-rituals" target="_blank"><img title="" src="http://dbprng00ikc2j.cloudfront.net/work/image/1006214/qg7swq/20160905152204-2016_Beverly_Buchanan_Signature_image_Year_of_Yes_Untitled_Artist_Portrait_with_Frustula_Sculpture_re_1800w.jpg" alt="" /></a></span></p> <!-- Caption --> <p style="text-align: center;"><span style="font-family: helvetica; font-size: x-small;">Beverly Buchanan, <em>Untitled (Double Portrait of Artist with Frustula Sculpture)</em> (detail), n.d., black-and-white photograph with original paint marks, 8&frac12; x 11 in. (21.6 x 27.9 cm). Private collection &copy; Estate of Beverly Buchanan</span></p> </td> </tr> <!-- New Exhibition --> <tr><!-- Exhibition info --> <td style="border: 2px; border-style: dotted dotted dotted dotted; border-color: #b2b2b2; padding: 10px;" width="300"> <p><strong style="font-size: x-large;"><span style="font-family: helvetica;"><a style="text-decoration: none; color: #00cfa6;" href="http://www.artslant.com/ny/events/show/426854-solo-exhibition" target="_blank">Mark Leckey</a></span></strong></p> <p><span style="font-size: small;"><strong><span style="font-family: helvetica;"><a style="text-decoration: none; color: #00cfa6;" href="http://www.artslant.com/ny/venues/show/607-moma-ps1" target="_blank">MoMA PS1</a></span></strong></span><br /><span style="font-family: helvetica; font-size: small;">22-25 Jackson Ave <br />Long Island City, NY 11101<br /></span></p> <p>&nbsp;</p> <!-- Opening dates --> <table style="vertical-align: baseline; padding: 10px; border: 2px; border-style: dotted none none none;"> <tbody> <tr> <td> <p><span style="font-family: helvetica; font-size: medium;">&nbsp;</span></p> <p style="text-align: left;"><span style="font-family: helvetica; font-size: small;">October 23, 2016&ndash;March 5, 2017<br /></span><span style="font-family: helvetica; font-size: small;">Opening:&nbsp;</span><span style="font-family: helvetica; font-size: small;">October 23, 12&ndash;6pm</span></p> </td> </tr> </tbody> </table> </td> <!-- Image --> <td style="border: 2px; border-style: dotted dotted dotted dotted; border-color: #b2b2b2; padding: 10px;" width="300"> <p style="text-align: center;"><span style="font-family: helvetica; font-size: small;">&nbsp;<a href="http://www.artslant.com/ny/events/show/426854-solo-exhibition" target="_blank"><img title="" src="http://dbprng00ikc2j.cloudfront.net/work/image/1005222/qg7swq/20160831082558-GB_-_ML_-_010.jpg" alt="" /></a></span></p> <!-- Caption --> <p style="text-align: center;"><span style="font-family: helvetica; font-size: x-small;">Mark Leckey &copy; Courtesy of the Artist and MoMA PS1</span></p> </td> </tr> <!-- New Exhibition --> <tr><!-- Exhibition info --> <td style="border: 2px; border-style: dotted dotted dotted dotted; border-color: #b2b2b2; padding: 10px;" width="300"> <p><strong style="font-size: x-large;"><span style="font-family: helvetica;"><a style="text-decoration: none; color: #00cfa6;" href="http://www.artslant.com/ny/events/show/427383-mastry" target="_blank">Kerry James Marshall, <em>Mastry</em><br /></a></span></strong></p> <p><span style="font-family: helvetica; font-size: small;"><strong style="font-family: Verdana, Arial, Helvetica, sans-serif;"><span style="font-family: helvetica;"><a style="text-decoration: none; color: #00cfa6;" href="http://www.artslant.com/ny/venues/show/55667-the-met-breuer" target="_blank">The Met Breuer<br /></a></span></strong></span><span style="font-family: helvetica; font-size: small;">945 Madison Avenue<br /></span><span style="font-family: helvetica; font-size: small;">New York, NY&nbsp;10021</span></p> <p>&nbsp;</p> <p><a style="text-decoration: none; color: #00cfa6;" href="http://www.artslant.com/chi/articles/show/45761" target="_blank"><span style="color: #00cfa6;"><em><strong>Read our review of <em>Mastry</em> at the MCA</strong></em></span></a></p> <!-- Opening dates --> <table style="vertical-align: baseline; padding: 10px; border: 2px; border-style: dotted none none none;"> <tbody> <tr> <td> <p><span style="font-family: helvetica; font-size: medium;">&nbsp;</span></p> <p style="text-align: left;"><span style="font-family: helvetica; font-size: small;">October 25, 2016&ndash;January 29, 2017<br /></span><span style="font-family: helvetica; font-size: small;">Opening:&nbsp;</span><span style="font-family: helvetica; font-size: small;">October 25, 10am&ndash;5:30pm</span></p> </td> </tr> </tbody> </table> </td> <!-- Image --> <td style="border: 2px; border-style: dotted dotted dotted dotted; border-color: #b2b2b2; padding: 10px;" width="300"> <p style="text-align: center;"><span style="font-family: helvetica; font-size: small;">&nbsp;<a href="http://www.artslant.com/ny/events/show/427383-mastry" target="_blank"><img title="" src="http://dbprng00ikc2j.cloudfront.net/work/image/1006222/qg7swq/20160905161625-DP362047.jpg" alt="" /></a></span></p> <!-- Caption --> <p style="text-align: center;"><span style="font-family: helvetica; font-size: x-small;">Kerry James Marshall, <em>Untitled (Studio)</em>, 2014, acrylic on PVC panels, 83 5/16 x 119 1/4 in. (211.6 x 302.9 cm) &copy; Kerry James Marshall</span></p> </td> </tr> <!-- New Exhibition --> <tr><!-- Exhibition info --> <td style="border: 2px; border-style: dotted dotted dotted dotted; border-color: #b2b2b2; padding: 10px;" width="300"> <p><strong style="font-size: x-large;"><span style="font-family: helvetica;"><a style="text-decoration: none; color: #00cfa6;" href="http://www.artslant.com/ny/events/show/426381-pixel-forest" target="_blank">Pipilotti Rist,<em> Pixel Forest</em><br /></a></span></strong></p> <p><span style="font-family: helvetica; font-size: small;">Curated by:&nbsp;<a style="text-decoration: none; color: #00cfa6;" href="http://www.artslant.com/ny/artists/show/378575-helga-christoffersen" target="_blank">Helga Christoffersen</a>,&nbsp;<a style="text-decoration: none; color: #00cfa6;" href="http://www.artslant.com/ny/artists/show/146731-massimiliano-gioni" target="_blank">Massimiliano Gioni</a>,&nbsp;<a style="text-decoration: none; color: #00cfa6;" href="http://www.artslant.com/ny/artists/show/214666-margot-norton" target="_blank">Margot Norton</a>&nbsp;</span></p> <p><span style="font-size: small;"><strong><span style="font-family: helvetica;"><a style="text-decoration: none; color: #00cfa6;" href="http://www.artslant.com/ny/venues/show/1189-new-museum" target="_blank">New Museum</a></span></strong></span><br /><span style="font-family: helvetica; font-size: small;">235 Bowery<br />New York, NY&nbsp;10002<br /></span></p> <p>&nbsp;</p> <!-- Opening dates --> <table style="vertical-align: baseline; padding: 10px; border: 2px; border-style: dotted none none none;"> <tbody> <tr> <td> <p><span style="font-family: helvetica; font-size: medium;">&nbsp;</span></p> <p style="text-align: left;"><span style="font-family: helvetica; font-size: small;">October 26, 2016&ndash;January 15, 2017<br /></span><span style="font-family: helvetica; font-size: small;">Opening:&nbsp;</span><span style="font-family: helvetica; font-size: small;">October 26, 11am&ndash;6pm</span></p> </td> </tr> </tbody> </table> </td> <!-- Image --> <td style="border: 2px; border-style: dotted dotted dotted dotted; border-color: #b2b2b2; padding: 10px;" width="300"> <p style="text-align: center;"><span style="font-family: helvetica; font-size: small;">&nbsp;<a href="http://www.artslant.com/ny/events/show/426381-pixel-forest" target="_blank"><img title="" src="http://dbprng00ikc2j.cloudfront.net/work/image/1004153/qg7swq/20160825073719-1280x1024x1.jpg" alt="" /></a></span></p> <!-- Caption --> <p style="text-align: center;"><span style="font-family: helvetica; font-size: x-small;">Pipilotti Rist, Gnade Donau Gnade (Mercy Danube Mercy), 2013/15. Installation view: &ldquo;Komm Schatz, wir stellen die Medien um &amp; fangen nochmals von vorne an,&rdquo; Kunsthalle Krems, Austria, 2015 &copy; Courtesy the artist, Hauser &amp; Wirth, and Luhring Augustine. Photo: Lisa Rastl</span></p> </td> </tr> <!-- New Exhibition --> <tr><!-- Exhibition info --> <td style="border: 2px; border-style: dotted dotted dotted dotted; border-color: #b2b2b2; padding: 10px;" width="300"> <p><strong style="font-size: x-large;"><span style="font-family: helvetica;"><a style="text-decoration: none; color: #00cfa6;" href="http://www.artslant.com/ny/events/show/427389-dreamlands-immersive-cinema-and-art-19052016" target="_blank"><em>Dreamlands: Immersive Cinema and Art, 1905&ndash;2016</em><br /></a></span></strong></p> <p><span style="font-family: helvetica; font-size: small;">Curated by:&nbsp;<a style="text-decoration: none; color: #00cfa6;" href="http://www.artslant.com/ny/artists/show/102295-chrissie-iles" target="_blank">Chrissie Iles</a></span></p> <p><span style="font-size: small;"><strong><span style="font-family: helvetica;"><a style="text-decoration: none; color: #00cfa6;" href="http://www.artslant.com/ny/venues/show/593-whitney-museum-of-american-art" target="_blank">Whitney Museum of American Art</a></span></strong></span><br /><span style="font-family: helvetica; font-size: small;">99 Gansevoort Street<br />New York, NY&nbsp;10014<br /></span></p> <p>&nbsp;</p> <!-- Opening dates --> <table style="vertical-align: baseline; padding: 10px; border: 2px; border-style: dotted none none none;"> <tbody> <tr> <td> <p><span style="font-family: helvetica; font-size: medium;">&nbsp;</span></p> <p style="text-align: left;"><span style="font-family: helvetica; font-size: small;">October 28, 2016&ndash;February 5, 2017<br /></span><span style="font-family: helvetica; font-size: small;">Opening:&nbsp;</span><span style="font-family: helvetica; font-size: small;">October 28, 11am&ndash;9pm</span></p> </td> </tr> </tbody> </table> </td> <!-- Image --> <td style="border: 2px; border-style: dotted dotted dotted dotted; border-color: #b2b2b2; padding: 10px;" width="300"> <p style="text-align: center;"><span style="font-family: helvetica; font-size: small;">&nbsp;<a href="http://www.artslant.com/ny/events/show/427389-dreamlands-immersive-cinema-and-art-19052016" target="_blank"><img title="" src="http://dbprng00ikc2j.cloudfront.net/work/image/1006226/qg7swq/20160905163140-steyerl_forweb_2340.jpg" alt="" /></a></span></p> <!-- Caption --> <p style="text-align: center;"><span style="font-family: helvetica; font-size: x-small;">Hito Steyerl, Installation view of <em>Factory of the Sun</em>, 2015 (German Pavilion, 56th Venice Biennale, 2015), video, color, sound; 21 min., looped; with environment,, dimensions variable. Collection of the artist &copy; Courtesy Andrew Kreps Gallery, New York. Photograph by Manuel Reinartz; image courtesy the artist and Andrew Kreps Gallery, New York</span></p> </td> </tr> <!-- New Exhibition --> <tr><!-- Exhibition info --> <td style="border: 2px; border-style: dotted dotted dotted dotted; border-color: #b2b2b2; padding: 10px;" width="300"> <p><strong style="font-size: x-large;"><span style="font-family: helvetica;"><a style="text-decoration: none; color: #00cfa6;" href="http://www.artslant.com/ny/events/show/427368-prettydirty" target="_blank"><span style="color: #00cfa6;">Marilyn Minter, <em>Pretty/Dirty</em></span></a><a href="http://www.artslant.com/ny/events/show/427370-ruins-and-rituals" target="_blank"><br /></a></span></strong></p> <p><span style="font-family: helvetica; font-size: small;">Curated by:&nbsp;<a style="text-decoration: none; color: #00cfa6;" href="http://www.artslant.com/ny/artists/show/300761-carmen-hermo" target="_blank">Carmen Hermo</a>,&nbsp;<a style="text-decoration: none; color: #00cfa6;" href="http://www.artslant.com/ny/artists/show/23311-catherine-morris" target="_blank">Catherine Morris</a>&nbsp;</span></p> <p><span style="font-size: small;"><strong><span style="font-family: helvetica;"><a style="text-decoration: none; color: #00cfa6;" href="http://www.artslant.com/ny/venues/show/625-brooklyn-museum-of-art" target="_blank">Brooklyn Museum of Art</a></span></strong></span><br /><span style="font-family: helvetica; font-size: small;">200 Eastern Parkway<br />Brooklyn, NY&nbsp;11238-6052<br /></span></p> <p>&nbsp;</p> <p><span style="font-family: helvetica; font-size: small;"><!-- Opening dates --></span></p> <table style="vertical-align: baseline; padding: 10px; border: 2px; border-style: dotted none none none;"> <tbody> <tr> <td> <p><span style="font-family: helvetica; font-size: medium;">&nbsp;</span></p> <p style="text-align: left;"><span style="font-family: helvetica; font-size: small;">November 4, 2016&ndash;April 2, 2017<br /></span><span style="font-family: helvetica; font-size: small;">Opening:&nbsp;</span><span style="font-family: helvetica; font-size: small;">November 4, 11am&ndash;6pm</span></p> </td> </tr> </tbody> </table> </td> <!-- Image --> <td style="border: 2px; border-style: dotted dotted dotted dotted; border-color: #b2b2b2; padding: 10px;" width="300"> <p style="text-align: center;"><span style="font-family: helvetica; font-size: small;">&nbsp;<a href="http://www.artslant.com/ny/events/show/427368-prettydirty" target="_blank"><img title="" src="http://dbprng00ikc2j.cloudfront.net/work/image/1006213/qg7swq/20160905152015-2016_Pretty_Dirty_Year_of_Yes_Marilyn_Minter_Blue_Poles_1800w_final.jpg" alt="" /></a></span></p> <!-- Caption --> <p style="text-align: center;"><span style="font-family: helvetica; font-size: x-small;">Marilyn Minter, <em>Blue Poles</em>, 2007, enamel on metal, 60 x 72 in. (152.4 x 182.9 cm) &copy; Private collection, Switzerland</span></p> </td> </tr> <!-- New Exhibition --></tbody> </table> <table style="border: 2px; border-style: dotted dotted dotted dotted; border-color: #b2b2b2;" width="100%"> <tbody> <tr> <td>&nbsp;</td> </tr> <tr><!-- City --> <td colspan="2">&nbsp;<a name="LA"></a><em><strong><span style="font-size: xx-large; font-family: arial, helvetica, sans-serif; padding: 10px; padding-top: 10px; padding-bottom: 10px;">Los Angeles</span></strong></em></td> </tr> <!-- New Exhibition --> <tr><!-- Exhibition info --> <td style="border: 2px; border-style: dotted dotted dotted dotted; border-color: #b2b2b2; padding: 10px;" width="300"> <p><strong style="font-size: x-large;"><span style="font-family: helvetica;"><a style="text-decoration: none; color: #00cfa6;" href="http://www.artslant.com/la/events/show/424991-electric-earth" target="_blank"><span style="color: #00cfa6;">Doug Aitken,</span><em style="text-decoration: none; color: #00cfa6;"> Electric Earth</em></a></span></strong></p> <p><span style="font-size: small;"><strong><span style="font-family: helvetica;"><a style="text-decoration: none; color: #00cfa6;" href="http://www.artslant.com/la/venues/show/317-moca-geffen-contemporary" target="_blank">MOCA Geffen Contemporary</a></span></strong></span><br /><span style="font-family: helvetica; font-size: small;">152 N. Central Ave.<br />Los Angeles, CA&nbsp;90013<br /></span></p> <p>&nbsp;</p> <!-- Opening dates --> <table style="vertical-align: baseline; padding: 10px; border: 2px; border-style: dotted none none none;"> <tbody> <tr> <td> <p><span style="font-family: helvetica; font-size: medium;">&nbsp;</span></p> <p style="text-align: left;"><span style="font-family: helvetica; font-size: small;">September 10, 2016&ndash;January 15, 2017<br /></span><span style="font-family: helvetica; font-size: small;">Opening:&nbsp;</span><span style="font-family: helvetica; font-size: small;">September 10, 11am&ndash;6pm</span></p> </td> </tr> </tbody> </table> </td> <!-- Image --> <td style="border: 2px; border-style: dotted dotted dotted dotted; border-color: #b2b2b2; padding: 10px;" width="300"> <p style="text-align: center;"><span style="font-family: helvetica; font-size: small;">&nbsp;<a href="http://www.artslant.com/la/events/show/424991-electric-earth" target="_blank"><img title="" src="http://dbprng00ikc2j.cloudfront.net/work/image/1002088/qg7swq/20160807175751-thumb_1567_1120x0_0_0_auto.jpg" alt="" /></a></span></p> <!-- Caption --> <p style="text-align: center;"><span style="font-family: helvetica; font-size: x-small;">Doug Aitken, <em>migration (empire)</em> (still), 2008, video installation with three channels of video (color, sound), three projections, three steel and PVC screen billboard sculptures, 24:28 minutes/loop, installation dimensions variable &copy; Courtesy of the Artist and MOCA Geffen Contemporary</span></p> </td> </tr> <!-- New Exhibition --> <tr><!-- Exhibition info --> <td style="border: 2px; border-style: dotted dotted dotted dotted; border-color: #b2b2b2; padding: 10px;" width="300"> <p><strong style="font-size: x-large;"><span style="font-family: helvetica;"><a style="text-decoration: none; color: #00cfa6;" href="http://www.artslant.com/la/events/show/424445-hammer-projects-marwa-arsanios" target="_blank">Hammer Projects: Marwa Arsanios<br /></a></span></strong></p> <p><span style="font-family: helvetica; font-size: small;">Curated by:&nbsp;<a style="text-decoration: none; color: #00cfa6;" href="http://www.artslant.com/la/artists/show/7412-aram-moshayedi" target="_blank">Aram Moshayedi</a>,&nbsp;<a style="text-decoration: none; color: #00cfa6;" href="http://www.artslant.com/la/artists/show/415636-mackenzie-stevens" target="_blank">MacKenzie Stevens</a><br /></span></p> <p><span style="font-size: small;"><strong><span style="font-family: helvetica;"><a style="text-decoration: none; color: #00cfa6;" href="http://www.artslant.com/la/venues/show/10-hammer-museum" target="_blank">Hammer Museum</a></span></strong></span><br /><span style="font-family: helvetica; font-size: small;">10899 Wilshire Boulevard<br />Los Angeles, CA&nbsp;90024<br /></span></p> <p>&nbsp;</p> <!-- Opening dates --> <table style="vertical-align: baseline; padding: 10px; border: 2px; border-style: dotted none none none;"> <tbody> <tr> <td> <p><span style="font-family: helvetica; font-size: medium;">&nbsp;</span></p> <p style="text-align: left;"><span style="font-family: helvetica; font-size: small;">September 17, 2016&ndash;January 8, 2017<br /></span><span style="font-family: helvetica; font-size: small;">Opening:&nbsp;</span><span style="font-family: helvetica; font-size: small;">September 17, 11am&ndash;5pm</span></p> </td> </tr> </tbody> </table> </td> <!-- Image --> <td style="border: 2px; border-style: dotted dotted dotted dotted; border-color: #b2b2b2; padding: 10px;" width="300"> <p style="text-align: center;"><span style="font-family: helvetica; font-size: small;">&nbsp;<a href="http://www.artslant.com/la/events/show/424445-hammer-projects-marwa-arsanios" target="_blank"><img title="" src="http://dbprng00ikc2j.cloudfront.net/work/image/1001224/qg7swq/20160731154040-ma.jpg" alt="" /></a></span></p> <!-- Caption --> <p style="text-align: center;"><span style="font-family: helvetica; font-size: x-small;">Marwa Arsanios, Still from <em>falling is not collapsing &ndash; falling is extending</em>, 2016, digital video &copy; Courtesy of the artist and Mor-Charpentier, Paris</span></p> </td> </tr> <!-- New Exhibition --> <tr><!-- Exhibition info --> <td style="border: 2px; border-style: dotted dotted dotted dotted; border-color: #b2b2b2; padding: 10px;" width="300"> <p><strong style="font-size: x-large;"><span style="font-family: helvetica;"><a style="text-decoration: none; color: #00cfa6;" href="http://www.artslant.com/la/events/show/426948-solo-exhibition" target="_blank">Toba Khedoori</a></span></strong></p> <p><span style="font-size: small;"><strong><span style="font-family: helvetica;"><a style="text-decoration: none; color: #00cfa6;" href="http://www.artslant.com/la/venues/show/13185-lacma---los-angeles-county-museum-of-art" target="_blank">LACMA</a></span></strong></span><br /><span style="font-family: helvetica; font-size: small;">5905 Wilshire Avenue<br />Los Angeles, CA&nbsp;90036<br /></span></p> <p>&nbsp;</p> <!-- Opening dates --> <table style="vertical-align: baseline; padding: 10px; border: 2px; border-style: dotted none none none;"> <tbody> <tr> <td> <p><span style="font-family: helvetica; font-size: medium;">&nbsp;</span></p> <p style="text-align: left;"><span style="font-family: helvetica; font-size: small;">September 25, 2016&ndash;January 2, 2017<br /></span><span style="font-family: helvetica; font-size: small;">Opening:&nbsp;</span><span style="font-family: helvetica; font-size: small;">September 25, 11am&ndash;8pm</span></p> </td> </tr> </tbody> </table> </td> <!-- Image --> <td style="border: 2px; border-style: dotted dotted dotted dotted; border-color: #b2b2b2; padding: 10px;" width="300"> <p style="text-align: center;"><span style="font-family: helvetica; font-size: small;">&nbsp;<a href="http://www.artslant.com/la/events/show/426948-solo-exhibition" target="_blank"><img title="" src="http://dbprng00ikc2j.cloudfront.net/work/image/1005360/qg7swq/20160831164807-EX6833_14_TK156_FPO.jpg" alt="" /></a></span></p> <!-- Caption --> <p style="text-align: center;"><span style="font-family: helvetica; font-size: x-small;">Toba Khedoori, <em>Untitled (clouds)</em>, 2005, Sender Collection &copy; Toba Khedoori, photo &copy; Douglas M. Parker Studio, courtesy Regen Projects, Los Angeles, and David Zwirner, New York/London</span></p> </td> </tr> <!-- New Exhibition --> <tr><!-- Exhibition info --> <td style="border: 2px; border-style: dotted dotted dotted dotted; border-color: #b2b2b2; padding: 10px;" width="300"> <p><strong style="font-size: x-large;"><span style="font-family: helvetica;"><a style="text-decoration: none; color: #00cfa6;" href="http://www.artslant.com/la/events/show/424439-nkame-a-retrospective-of-cuban-printmaker-belkis-ay%C3%B3n" target="_blank">Belkis Ay&oacute;n,</a><em style="text-decoration: none; color: #00cfa6;"><a style="text-decoration: none; color: #00cfa6;" href="http://www.artslant.com/la/events/show/424439-nkame-a-retrospective-of-cuban-printmaker-belkis-ay%C3%B3n" target="_blank"> Nkame: A Retrospective of Cuban Printmaker Belkis Ay&oacute;n</a></em><br /></span></strong></p> <p><span style="font-family: helvetica; font-size: small;">Curated by:&nbsp;<a style="text-decoration: none; color: #00cfa6;" href="http://www.artslant.com/la/artists/show/463344-cristina-vives" target="_blank">Cristina Vives</a></span></p> <p><span style="font-size: small;"><strong><span style="font-family: helvetica;"><a style="text-decoration: none; color: #00cfa6;" href="http://www.artslant.com/la/venues/show/175-fowler-museum-at-ucla" target="_blank">Fowler Museum at UCLA</a></span></strong></span><br /><span style="font-family: helvetica; font-size: small;">North Campus<br />Los Angeles, CA&nbsp;90095<br /></span></p> <p>&nbsp;</p> <!-- Opening dates --> <table style="vertical-align: baseline; padding: 10px; border: 2px; border-style: dotted none none none;"> <tbody> <tr> <td> <p><span style="font-family: helvetica; font-size: medium;">&nbsp;</span></p> <p style="text-align: left;"><span style="font-family: helvetica; font-size: small;">October 2, 2016&ndash;February 12, 2017<br /></span><span style="font-family: helvetica; font-size: small;">Opening:&nbsp;</span><span style="font-family: helvetica; font-size: small;">October 2, 12&ndash;5pm</span></p> </td> </tr> </tbody> </table> </td> <!-- Image --> <td style="border: 2px; border-style: dotted dotted dotted dotted; border-color: #b2b2b2; padding: 10px;" width="300"> <p style="text-align: center;"><span style="font-family: helvetica; font-size: small;">&nbsp;<a href="http://www.artslant.com/la/events/show/424439-nkame-a-retrospective-of-cuban-printmaker-belkis-ay%C3%B3n" target="_blank"><img title="" src="http://dbprng00ikc2j.cloudfront.net/work/image/1001218/qg7swq/20160731151931-86.02.png" alt="" /></a></span></p> <!-- Caption --> <p style="text-align: center;"><span style="font-family: helvetica; font-size: x-small;">Belkis Ay&oacute;n, <em>Veneraci&oacute;n (Veneration)</em>, ca. 1986, lithograph and blindprint &copy; Collection of the Belkis Ay&oacute;n Estate</span></p> </td> </tr> <!-- New Exhibition --> <tr><!-- Exhibition info --> <td style="border: 2px; border-style: dotted dotted dotted dotted; border-color: #b2b2b2; padding: 10px;" width="300"> <p><strong style="font-size: x-large;"><span style="font-family: helvetica;"><a style="text-decoration: none; color: #00cfa6;" href="http://www.artslant.com/la/events/show/427438-smell-the-roses" target="_blank">Genevieve Gaignard,<em> Smell the Roses</em><br /></a></span></strong></p> <p><span style="font-family: helvetica; font-size: small;">Curated by:&nbsp;<a style="text-decoration: none; color: #00cfa6;" href="http://www.artslant.com/la/artists/show/246704-naima-j-keith" target="_blank">Naima J. Keith</a></span></p> <p><span style="font-size: small;"><strong><span style="font-family: helvetica;"><a style="text-decoration: none; color: #00cfa6;" href="http://www.artslant.com/la/venues/show/173-california-african-american-museum" target="_blank">California African American Museum</a></span></strong></span><br /><span style="font-family: helvetica; font-size: small;">600 State Drive,&nbsp;Exposition Park<br />Los Angeles, CA&nbsp;90037<br /></span></p> <p>&nbsp;</p> <!-- Opening dates --> <table style="vertical-align: baseline; padding: 10px; border: 2px; border-style: dotted none none none;"> <tbody> <tr> <td> <p><span style="font-family: helvetica; font-size: medium;">&nbsp;</span></p> <p style="text-align: left;"><span style="font-family: helvetica; font-size: small;">October 19, 2016&ndash;February 12, 2017<br /></span><span style="font-family: helvetica; font-size: small;">Opening:&nbsp;</span><span style="font-family: helvetica; font-size: small;">October 19, 6&ndash;8pm</span></p> </td> </tr> </tbody> </table> </td> <!-- Image --> <td style="border: 2px; border-style: dotted dotted dotted dotted; border-color: #b2b2b2; padding: 10px;" width="300"> <p style="text-align: center;"><span style="font-family: helvetica; font-size: small;">&nbsp;<a href="http://www.artslant.com/la/events/show/427438-smell-the-roses" target="_blank"><img src="http://dbprng00ikc2j.cloudfront.net/work/image/1006278/qg7swq/20160905193313-genevieve_icon.jpg" alt="" /></a></span></p> <!-- Caption --> <p style="text-align: center;"><span style="font-family: helvetica; font-size: x-small;">Genevieve Gaignard, <em>Compton Contrapposto</em>, 2016, chromogenic print, 32 x 48 inches &copy; Courtesy the artist and Shulamit Nazarian, Los Angeles</span></p> </td> </tr> </tbody> <tbody> <tr> <td>&nbsp;</td> </tr> <tr><!-- City --> <td colspan="2">&nbsp;<a name="Chicago"></a><em><strong><span style="font-size: xx-large; font-family: arial, helvetica, sans-serif; padding: 10px; padding-top: 10px; padding-bottom: 10px;">Chicago</span></strong></em></td> </tr> <!-- New Exhibition --> <tr><!-- Exhibition info --> <td style="border: 2px; border-style: dotted dotted dotted dotted; border-color: #b2b2b2; padding: 10px;" width="300"> <p><strong style="font-size: x-large;"><span style="font-family: helvetica;"><a style="text-decoration: none; color: #00cfa6;" href="http://www.artslant.com/chi/events/show/421523-urth" target="_blank">Ben Rivers,</a>&nbsp;</span></strong><em style="font-size: x-large;"><strong><a style="text-decoration: none; color: #00cfa6;" href="http://www.artslant.com/chi/events/show/421523-urth" target="_blank"><span style="font-family: helvetica;">Urth</span></a></strong></em></p> <p><span style="font-family: helvetica; font-size: small;">Curated by:&nbsp;<a style="text-decoration: none; color: #00cfa6;" href="http://www.artslant.com/chi/artists/show/316230-solveig-%C3%98vsteb%C3%B8" target="_blank">Solveig &Oslash;vsteb&oslash;</a></span></p> <p><span style="font-size: small;"><strong><span style="font-family: helvetica;"><a style="text-decoration: none; color: #00cfa6;" href="http://www.artslant.com/chi/venues/show/2353-renaissance-society" target="_blank">Renaissance Society</a></span></strong></span><br /><span style="font-family: helvetica; font-size: small;">5811 S. Ellis Avenue</span><br /><span style="font-family: helvetica; font-size: medium;"><span style="font-size: small;">Chicago, IL&nbsp;60637</span>&nbsp;</span></p> <p>&nbsp;</p> <!-- Opening dates --> <table style="vertical-align: baseline; padding: 10px; border: 2px; border-style: dotted none none none;"> <tbody> <tr> <td> <p><span style="font-family: helvetica; font-size: medium;">&nbsp;</span></p> <p style="text-align: left;"><span style="font-family: helvetica; font-size: small;">September 10&ndash;November 6<br /></span><span style="font-family: helvetica; font-size: small;">Opening:&nbsp;</span><span style="font-family: helvetica; font-size: small;">September 10, 5&ndash;8pm</span></p> </td> </tr> </tbody> </table> </td> <!-- Image --> <td style="border: 2px; border-style: dotted dotted dotted dotted; border-color: #b2b2b2; padding: 10px;" width="300"> <p style="text-align: center;"><span style="font-family: helvetica; font-size: small;">&nbsp;<a href="http://www.artslant.com/chi/events/show/421523-urth" target="_blank"><img title="" src="http://dbprng00ikc2j.cloudfront.net/work/image/994484/qg7swq/20160617190608-br_the-two-eyes_6_web.jpg" alt="The Sky Trembles and the Earth is Afraid and the Two Eyes are Not Brothers, Ben Rivers" /></a></span></p> <!-- Caption --> <p style="text-align: center;"><span style="font-family: helvetica; font-size: x-small;">Ben Rivers,&nbsp;<em>The Sky Trembles and the Earth is Afraid and the Two Eyes are Not Brothers,&nbsp;</em>2015. An Artangel, The Whitworth, Manchester, and BFI Film Fund Commission&nbsp;&copy; Courtesy of the artist and Kate MacGarry, London</span></p> </td> </tr> <!-- New Exhibition --> <tr><!-- Exhibition info --> <td style="border: 2px; border-style: dotted dotted dotted dotted; border-color: #b2b2b2; padding: 10px;" width="300"> <p><strong style="font-size: x-large;"><span style="font-family: helvetica;"><a style="text-decoration: none; color: #00cfa6;" href="http://www.artslant.com/chi/events/show/427418-open-season" target="_blank"><span style="color: #00cfa6;">Larry Achiampong, <em>Open Season</em><br /></span></a></span></strong></p> <p><span style="font-family: helvetica; font-size: small;">Curated by:&nbsp;<a style="text-decoration: none; color: #00cfa6;" href="http://www.artslant.com/chi/artists/show/321102-yesomi-umolu" target="_blank">Yesomi Umolu</a><br /></span></p> <p><span style="font-size: small;"><strong><span style="font-family: helvetica;"><a style="text-decoration: none; color: #00cfa6;" href="http://www.artslant.com/chi/venues/show/38080-reva-and-david-logan-center-for-the-arts---university-of-chicago">Reva and David Logan Center for the Arts | University of Chicago</a></span></strong></span><br /><span style="font-family: helvetica; font-size: small;">915 East 60th Street&nbsp;<br />Chicago, IL&nbsp;60637<br /></span></p> <p>&nbsp;</p> <!-- Opening dates --> <table style="vertical-align: baseline; padding: 10px; border: 2px; border-style: dotted none none none;"> <tbody> <tr> <td> <p><span style="font-family: helvetica; font-size: medium;">&nbsp;</span></p> <p style="text-align: left;"><span style="font-family: helvetica; font-size: small;">September 16&ndash;October 30<br /></span><span style="font-family: helvetica; font-size: small;">Opening:&nbsp;</span><span style="font-family: helvetica; font-size: small;">September 21, 16&ndash;8pm</span></p> </td> </tr> </tbody> </table> </td> <!-- Image --> <td style="border: 2px; border-style: dotted dotted dotted dotted; border-color: #b2b2b2; padding: 10px;" width="300"> <p style="text-align: center;"><span style="font-family: helvetica; font-size: small;">&nbsp;<a href="http://www.artslant.com/chi/events/show/427418-open-season" target="_blank"><img title="" src="http://dbprng00ikc2j.cloudfront.net/work/image/1006267/qg7swq/20160905182612-Sunday_s_Best_01.Still002.jpg" alt="" /></a></span></p> <!-- Caption --> <p style="text-align: center;"><span style="font-family: helvetica; font-size: x-small;">Larry Achiampong, <em>Sunday&rsquo;s Best</em>, 2016 &copy; Courtesy of the artist</span></p> </td> </tr> <!-- New Exhibition --> <tr><!-- Exhibition info --> <td style="border: 2px; border-style: dotted dotted dotted dotted; border-color: #b2b2b2; padding: 10px;" width="300"> <p><strong style="font-size: x-large;"><span style="font-family: helvetica;"><a style="text-decoration: none; color: #00cfa6;" href="http://www.artslant.com/chi/events/show/422498-the-sympathetic-imagination" target="_blank"><span style="color: #00cfa6;">Diana Thater, <em>The Sympathetic Imagination</em><br /></span></a></span></strong></p> <p><span style="font-family: helvetica; font-size: small;">Curated by:&nbsp;<a style="text-decoration: none; color: #00cfa6;" href="http://www.artslant.com/chi/artists/show/129576-michael-darling" target="_blank">Michael Darling</a>,&nbsp;<a style="text-decoration: none; color: #00cfa6;" href="http://www.artslant.com/chi/artists/show/294181-joey-orr" target="_blank">Joey Orr</a><br /></span></p> <p><span style="font-size: small;"><strong><span style="font-family: helvetica;"><a style="text-decoration: none; color: #00cfa6;" href="http://www.artslant.com/chi/venues/show/2084-museum-of-contemporary-art-mca" target="_blank">MCA Chicago</a></span></strong></span><br /><span style="font-family: helvetica; font-size: small;">220 East Chicago Ave<br />Chicago, IL&nbsp;60611<br /></span></p> <p>&nbsp;</p> <!-- Opening dates --> <table style="vertical-align: baseline; padding: 10px; border: 2px; border-style: dotted none none none;"> <tbody> <tr> <td> <p><span style="font-family: helvetica; font-size: medium;">&nbsp;</span></p> <p style="text-align: left;"><span style="font-family: helvetica; font-size: small;">October 29, 2016&ndash;January 8, 2017<br /></span><span style="font-family: helvetica; font-size: small;">Opening:&nbsp;</span><span style="font-family: helvetica; font-size: small;">October 29, 10am&ndash;5pm</span></p> </td> </tr> </tbody> </table> </td> <!-- Image --> <td style="border: 2px; border-style: dotted dotted dotted dotted; border-color: #b2b2b2; padding: 10px;" width="300"> <p style="text-align: center;"><span style="font-family: helvetica; font-size: small;">&nbsp;<a href="http://www.artslant.com/chi/events/show/422498-the-sympathetic-imagination" target="_blank"><img title="" src="http://dbprng00ikc2j.cloudfront.net/work/image/996840/qg7swq/20160630173334-20151116_LACMA_Thater_038.jpg" alt="" /></a></span></p> <!-- Caption --> <p style="text-align: center;"><span style="font-family: helvetica; font-size: x-small;">Diana Thater, <em>Delphine</em>, 1999, four video projectors, nine-monitor video wall, five players, and four LED wash lights, dimensions variable. Installation view, <em>Diana Thater: The Sympathetic Imagination</em>, Los Angeles County Museum of Art, 2015&ndash;16 &copy; Diana Thater Photo: &copy; Fredrik Nilsen</span></p> </td> </tr> <!-- New Exhibition --> <tr><!-- Exhibition info --> <td style="border: 2px; border-style: dotted dotted dotted dotted; border-color: #b2b2b2; padding: 10px;" width="300"> <p><strong style="font-size: x-large;"><span style="font-family: helvetica;"><a style="text-decoration: none; color: #00cfa6;" href="http://www.artslant.com/chi/events/show/427420-the-stars-were-aligned-for-a-century-of-new-beginnings" target="_blank"><span style="color: #00cfa6;">Basim Magdy,</span><em style="text-decoration: none; color: #00cfa6;"> The Stars were Aligned for a Century of New Beginnings</em></a></span></strong></p> <p><span style="font-size: small;"><strong><span style="font-family: helvetica;"><a style="text-decoration: none; color: #00cfa6;" href="http://www.artslant.com/chi/venues/show/2084-museum-of-contemporary-art-mca" target="_blank">MCA Chicago</a></span></strong></span><br /><span style="font-family: helvetica; font-size: small;">220 East Chicago Ave<br />Chicago, IL&nbsp;60611<br /></span></p> <p>&nbsp;</p> <!-- Opening dates --> <table style="vertical-align: baseline; padding: 10px; border: 2px; border-style: dotted none none none;"> <tbody> <tr> <td> <p><span style="font-family: helvetica; font-size: medium;">&nbsp;</span></p> <p style="text-align: left;"><span style="font-family: helvetica; font-size: small;">December 10, 2016&ndash;March 19, 2017<br /></span><span style="font-family: helvetica; font-size: small;">Opening:&nbsp;</span><span style="font-family: helvetica; font-size: small;">December 10, 10am&ndash;5pm</span></p> </td> </tr> </tbody> </table> </td> <!-- Image --> <td style="border: 2px; border-style: dotted dotted dotted dotted; border-color: #b2b2b2; padding: 10px;" width="300"> <p style="text-align: center;"><span style="font-family: helvetica; font-size: small;">&nbsp;<a href="http://www.artslant.com/chi/events/show/427420-the-stars-were-aligned-for-a-century-of-new-beginnings" target="_blank"><img title="" src="http://dbprng00ikc2j.cloudfront.net/work/image/1006268/qg7swq/20160905183108-BM_Expanding_the_Universe_2008.jpg" alt="" /></a></span></p> <!-- Caption --> <p style="text-align: center;"><span style="font-family: helvetica; font-size: x-small;">Basim Magdy, <em>Expanding the Universe</em>, 2008, acrylic, spray paint, and gouache on paper, 15 x 20 in. (38 x 51 cm) &copy; Courtesy of hunt kastner, Prague</span></p> </td> </tr> <tr> <td>&nbsp;</td> </tr> <tr><!-- City --> <td colspan="2">&nbsp;<a name="SF"></a><em><strong><span style="font-size: xx-large; font-family: arial, helvetica, sans-serif; padding: 10px; padding-top: 10px; padding-bottom: 10px;">San Francisco</span></strong></em></td> </tr> <!-- New Exhibition --> <tr><!-- Exhibition info --> <td style="border: 2px; border-style: dotted dotted dotted dotted; border-color: #b2b2b2; padding: 10px;" width="300"> <p><strong style="font-size: x-large;"><span style="font-family: helvetica;"><a style="text-decoration: none; color: #00cfa6;" href="http://www.artslant.com/sf/events/show/427407-home-land-security" target="_blank"><em style="text-decoration: none; color: #00cfa6;">Home Land Security</em></a></span></strong></p> <p><span style="font-size: small;"><strong><span style="font-family: helvetica;"><a style="text-decoration: none; color: #00cfa6;" href="http://www.artslant.com/sf/venues/show/55668-fort-winfield-scott" target="_blank">For-Site Foundation</a></span></strong></span><br /><span style="font-family: helvetica; font-size: small;">Fort Winfield Scott, Presidio<br />San Francisco, CA&nbsp;94129<br /></span></p> <p>&nbsp;</p> <!-- Opening dates --> <table style="vertical-align: baseline; padding: 10px; border: 2px; border-style: dotted none none none;"> <tbody> <tr> <td> <p><span style="font-family: helvetica; font-size: medium;">&nbsp;</span></p> <p><span style="font-family: helvetica; font-size: small;">September 10&ndash;December 18</span></p> </td> </tr> </tbody> </table> </td> <!-- Image --> <td style="border: 2px; border-style: dotted dotted dotted dotted; border-color: #b2b2b2; padding: 10px;" width="300"> <p style="text-align: center;"><span style="font-family: helvetica; font-size: small;">&nbsp;<a href="http://www.artslant.com/sf/events/show/427407-home-land-security" target="_blank"><img title="" src="http://dbprng00ikc2j.cloudfront.net/work/image/1006243/qg7swq/20160905174154-home-land-security-bassel.jpg" alt="" /></a></span></p> <!-- Caption --> <p style="text-align: center;"><span style="font-family: helvetica; font-size: x-small;">Tirtzah Bassel, <em>Airport In Security,</em> 2012 (detail, installation view at chashama 461 Gallery); duct tape on wall; courtesy the artist and Slag Gallery, New York; photo: Barry Rosenthal; &copy; Tirtzah Bassel</span></p> </td> </tr> <tr><!-- Exhibition info --> <td style="border: 2px; border-style: dotted dotted dotted dotted; border-color: #b2b2b2; padding: 10px;" width="300"> <p><strong style="font-size: x-large;"><span style="font-family: helvetica;"><em style="text-decoration: none; color: #00cfa6;"><a style="text-decoration: none; color: #00cfa6;" href="http://www.artslant.com/sf/events/show/426215-root-connection-20-years-of-the-patti-smith-collection" target="_blank">Root Connection: 20 Years of The Patti Smith Collection</a></em></span></strong></p> <p><span style="font-size: small;"><strong><span style="font-family: helvetica;"><a style="text-decoration: none; color: #00cfa6;" href="http://www.artslant.com/sf/venues/show/1367-mills-college-art-museum" target="_blank">Mills College Art Museum</a></span></strong></span><br /><span style="font-family: helvetica; font-size: small;">5000 MacArthur Blvd.<br />Oakland, CA&nbsp;94613<br /></span></p> <p>&nbsp;</p> <!-- Opening dates --> <table style="vertical-align: baseline; padding: 10px; border: 2px; border-style: dotted none none none;"> <tbody> <tr> <td> <p><span style="font-family: helvetica; font-size: medium;">&nbsp;</span></p> <p style="text-align: left;"><span style="font-family: helvetica; font-size: small;">September 14&ndash;December 11<br /></span><span style="font-family: helvetica; font-size: small;">Opening:&nbsp;</span><span style="font-family: helvetica; font-size: small;">September 14, 6&ndash;8pm</span></p> </td> </tr> </tbody> </table> </td> <!-- Image --> <td style="border: 2px; border-style: dotted dotted dotted dotted; border-color: #b2b2b2; padding: 10px;" width="300"> <p style="text-align: center;"><span style="font-family: helvetica; font-size: small;">&nbsp;<a href="http://www.artslant.com/sf/events/show/426215-root-connection-20-years-of-the-patti-smith-collection" target="_blank"><img title="" src="http://dbprng00ikc2j.cloudfront.net/work/image/1003970/qg7swq/20160823204702-3_Smith_P_Ephem_Mills_Olin_sml.jpg" alt="" /></a></span></p> <!-- Caption --> <p style="text-align: center;"><span style="font-family: helvetica; font-size: x-small;">Patti Smith, Assorted Materials from The Patti Smith Collection of the F. W. Olin Library, Mils College., Various &copy; Mills College</span></p> </td> </tr> <!-- New Exhibition --> <tr><!-- Exhibition info --> <td style="border: 2px; border-style: dotted dotted dotted dotted; border-color: #b2b2b2; padding: 10px;" width="300"> <p><strong style="font-size: x-large;"><span style="font-family: helvetica;"><a style="text-decoration: none; color: #00cfa6;" href="http://www.artslant.com/sf/events/show/427422-solo-exhibition" target="_blank">Anthony Hernandez</a></span></strong></p> <p><span style="font-size: small;"><strong><span style="font-family: helvetica;"><a style="text-decoration: none; color: #00cfa6;" href="http://www.artslant.com/sf/venues/show/1070-sfmoma---san-francisco-museum-of-modern-art" target="_blank">SFMOMA</a></span></strong></span><br /><span style="font-family: helvetica; font-size: small;">151 3rd St.<br />San Francisco, CA&nbsp;94103<br /></span></p> <p>&nbsp;</p> <!-- Opening dates --> <table style="vertical-align: baseline; padding: 10px; border: 2px; border-style: dotted none none none;"> <tbody> <tr> <td> <p><span style="font-family: helvetica; font-size: medium;">&nbsp;</span></p> <p style="text-align: left;"><span style="font-family: helvetica; font-size: small;">September 24, 2016&ndash;January 1, 2017<br /></span><span style="font-family: helvetica; font-size: small;">Opening:&nbsp;</span><span style="font-family: helvetica; font-size: small;">September 24, 10am&ndash;5pm</span></p> </td> </tr> </tbody> </table> </td> <!-- Image --> <td style="border: 2px; border-style: dotted dotted dotted dotted; border-color: #b2b2b2; padding: 10px;" width="300"> <p style="text-align: center;"><span style="font-family: helvetica; font-size: small;">&nbsp;<a href="http://www.artslant.com/sf/events/show/427422-solo-exhibition" target="_blank"><img title="" src="http://dbprng00ikc2j.cloudfront.net/work/image/1006269/qg7swq/20160905183834-Tnev7jfnfG7Z.jpg" alt="" /></a></span></p> <!-- Caption --> <p style="text-align: center;"><span style="font-family: helvetica; font-size: x-small;">Anthony Hernandez, <em>Forever #20</em>, 2007,printed 2013; San Francisco Museum of Modern Art, Accessions Committee Fund purchase &copy; Anthony Hernandez</span></p> </td> </tr> <tr> <td>&nbsp;</td> </tr> <tr><!-- City --> <td colspan="2">&nbsp;<a name="USA"></a><em><strong><span style="font-size: xx-large; font-family: arial, helvetica, sans-serif; padding: 10px; padding-top: 10px; padding-bottom: 10px;">United States &amp; Mexico</span></strong></em></td> </tr> <!-- New Exhibition --> <tr><!-- Exhibition info --> <td style="border: 2px; border-style: dotted dotted dotted dotted; border-color: #b2b2b2; padding: 10px;" width="300"> <p><strong style="font-size: x-large;"><span style="font-family: helvetica;"><a style="text-decoration: none; color: #00cfa6;" href="http://www.artslant.com/ew/events/show/427393-southern-accent-seeking-the-american-south-in-contemporary-art" target="_blank"><em>Southern Accent: Seeking the American South in Contemporary Art</em><br /></a></span></strong></p> <p><span style="font-family: helvetica; font-size: small;">Curated by:&nbsp;<a style="text-decoration: none; color: #00cfa6;" href="http://www.artslant.com/ew/artists/show/116217-miranda-lash">Miranda Lash</a>,&nbsp;<a style="text-decoration: none; color: #00cfa6;" href="http://www.artslant.com/ew/artists/show/310948-trevor-schoonmaker">Trevor Schoonmaker</a>&nbsp;</span></p> <p><span style="font-size: small;"><strong><span style="font-family: helvetica;"><a style="text-decoration: none; color: #00cfa6;" href="http://www.artslant.com/ny/venues/show/593-whitney-museum-of-american-art" target="_blank">Nasher Museum</a></span></strong></span><br /><span style="font-family: helvetica; font-size: small;">2001 Campus Drive<br />Durham, NC&nbsp;27705<br /></span></p> <p>&nbsp;</p> <!-- Opening dates --> <table style="vertical-align: baseline; padding: 10px; border: 2px; border-style: dotted none none none;"> <tbody> <tr> <td> <p><span style="font-family: helvetica; font-size: medium;">&nbsp;</span></p> <p style="text-align: left;"><span style="font-family: helvetica; font-size: small;">September 1, 2016&ndash;January 8, 2017</span></p> </td> </tr> </tbody> </table> </td> <!-- Image --> <td style="border: 2px; border-style: dotted dotted dotted dotted; border-color: #b2b2b2; padding: 10px;" width="300"> <p style="text-align: center;"><span style="font-family: helvetica; font-size: small;">&nbsp;<a href="http://www.artslant.com/ew/events/show/427393-southern-accent-seeking-the-american-south-in-contemporary-art" target="_blank"><img title="" src="http://dbprng00ikc2j.cloudfront.net/work/image/1006228/qg7swq/20160905164343-Walter-Anderson-Hummingbirds.jpg" alt="" /></a></span></p> <!-- Caption --> <p style="text-align: center;"><span style="font-family: helvetica; font-size: x-small;">Walter Inglis Anderson, <em>Hummingbirds</em>, c. 1955, watercolor on paper, 8.5 x 11 inches (21.59 x 27.94 cm). Courtesy of the Family of Walter Inglis Anderson &copy; Walter Inglis Anderson. Photo by Peter Paul Geoffrion</span></p> </td> </tr> <!-- New Exhibition --> <tr><!-- Exhibition info --> <td style="border: 2px; border-style: dotted dotted dotted dotted; border-color: #b2b2b2; padding: 10px;" width="300"> <p><strong style="font-size: x-large;"><span style="font-family: helvetica;"><a style="text-decoration: none; color: #00cfa6;" href="http://www.artslant.com/ew/events/show/425406-subjective-cosmology" target="_blank"><span style="color: #00cfa6;">Sanford Biggers,</span><em style="text-decoration: none; color: #00cfa6;"> Subjective Cosmology</em></a></span></strong></p> <p><span style="font-size: small;"><strong><span style="font-family: helvetica;"><a style="text-decoration: none; color: #00cfa6;" href="http://www.artslant.com/ew/venues/show/6410-museum-of-contemporary-art-detroit" target="_blank">Museum of Contemporary Art Detroit</a></span></strong></span><br /><span style="font-family: helvetica; font-size: small;">4454 Woodward Ave.<br />Detroit, MI&nbsp;48201<br /></span></p> <p>&nbsp;</p> <!-- Opening dates --> <table style="vertical-align: baseline; padding: 10px; border: 2px; border-style: dotted none none none;"> <tbody> <tr> <td> <p><span style="font-family: helvetica; font-size: medium;">&nbsp;</span></p> <p style="text-align: left;"><span style="font-family: helvetica; font-size: small;">September 9, 2016&ndash;January 1, 2017<br /></span><span style="font-family: helvetica; font-size: small;">Opening:&nbsp;</span><span style="font-family: helvetica; font-size: small;">September 9, 11am&ndash;8pm</span></p> </td> </tr> </tbody> </table> </td> <!-- Image --> <td style="border: 2px; border-style: dotted dotted dotted dotted; border-color: #b2b2b2; padding: 10px;" width="300"> <p style="text-align: center;"><span style="font-family: helvetica; font-size: small;">&nbsp;<a href="http://www.artslant.com/ew/events/show/425406-subjective-cosmology" target="_blank"><img title="" src="http://dbprng00ikc2j.cloudfront.net/work/image/1002858/qg7swq/20160813173034-sanford_bigers_shatter_web.jpg" alt="" /></a></span></p> <!-- Caption --> <p style="text-align: center;"><span style="font-family: helvetica; font-size: x-small;">Sanford Biggers, <em>Shatter,</em> 2015, production still &copy; Courtesy of the artist</span></p> </td> </tr> <!-- New Exhibition --> <tr><!-- Exhibition info --> <td style="border: 2px; border-style: dotted dotted dotted dotted; border-color: #b2b2b2; padding: 10px;" width="300"> <p><strong style="font-size: x-large;"><span style="font-family: helvetica;"><a style="text-decoration: none; color: #00cfa6;" href="http://www.artslant.com/ew/events/show/427471-official-grand-opening-weekend" target="_blank">Grand Opening</a></span></strong></p> <p><span style="font-size: small;"><strong><span style="font-family: helvetica;"><a style="text-decoration: none; color: #00cfa6;" href="http://www.artslant.com/ew/venues/show/55675-smithsonian-national-museum-of-african-american-history-and-culture" target="_blank">Smithsonian National Museum of African American History and Culture</a></span></strong></span><br /><span style="font-family: helvetica; font-size: small;">1400 Constitution Ave NW<br />Washington, DC&nbsp;20560<br /></span></p> <p>&nbsp;</p> <!-- Opening dates --> <table style="vertical-align: baseline; padding: 10px; border: 2px; border-style: dotted none none none;"> <tbody> <tr> <td> <p><span style="font-family: helvetica; font-size: medium;">&nbsp;</span></p> <p style="text-align: left;"><span style="font-family: helvetica; font-size: small;">Opening:&nbsp;</span><span style="font-family: helvetica; font-size: small;">September 24, 1&ndash;6pm</span></p> </td> </tr> </tbody> </table> </td> <!-- Image --> <td style="border: 2px; border-style: dotted dotted dotted dotted; border-color: #b2b2b2; padding: 10px;" width="300"> <p style="text-align: center;"><span style="font-family: helvetica; font-size: small;">&nbsp;<a href="http://www.artslant.com/ew/events/show/427471-official-grand-opening-weekend" target="_blank"><img title="" src="http://dbprng00ikc2j.cloudfront.net/work/image/1006372/qg7swq/20160906131730-12985543_10153404901601990_2804612546092107172_n.jpg" alt="" /></a></span></p> <!-- Caption --> <p style="text-align: center;"><span style="font-family: helvetica; font-size: x-small;">&copy; Photo: Michael Barnes, Smithsonian Institution</span></p> </td> </tr> <!-- New Exhibition --> <tr><!-- Exhibition info --> <td style="border: 2px; border-style: dotted dotted dotted dotted; border-color: #b2b2b2; padding: 10px;" width="300"> <p><strong style="font-size: x-large;"><span style="font-family: helvetica;"><a style="text-decoration: none; color: #00cfa6;" href="http://www.artslant.com/ew/events/show/426091-solo-exhibition" target="_blank">Ragnar Kjartansson</a></span></strong></p> <p><span style="font-size: small;"><strong><span style="font-family: helvetica;"><a style="text-decoration: none; color: #00cfa6;" href="http://www.artslant.com/ew/venues/show/4033-hirshhorn-museum-and-sculpture-garden" target="_blank">Hirschhorn Museum and Sculpture Garden</a></span></strong></span><br /><span style="font-family: helvetica; font-size: small;">Independence Ave. @ Seventh St. SW<br />Washington, DC&nbsp;20013-7012<br /></span></p> <p>&nbsp;</p> <!-- Opening dates --> <table style="vertical-align: baseline; padding: 10px; border: 2px; border-style: dotted none none none;"> <tbody> <tr> <td> <p><span style="font-family: helvetica; font-size: medium;">&nbsp;</span></p> <p style="text-align: left;"><span style="font-family: helvetica; font-size: small;">October 14, 2016&ndash;January 8, 2017<br /></span><span style="font-family: helvetica; font-size: small;">Opening:&nbsp;</span><span style="font-family: helvetica; font-size: small;">October 14, 10am&ndash;5:30pm</span></p> </td> </tr> </tbody> </table> </td> <!-- Image --> <td style="border: 2px; border-style: dotted dotted dotted dotted; border-color: #b2b2b2; padding: 10px;" width="300"> <p style="text-align: center;"><span style="font-family: helvetica; font-size: small;">&nbsp;<a href="http://www.artslant.com/ew/events/show/426091-solo-exhibition" target="_blank"><img title="" src="http://dbprng00ikc2j.cloudfront.net/work/image/1003790/qg7swq/20160821171119-3X9A0811-768x512.jpg" alt="" /></a></span></p> <!-- Caption --> <p style="text-align: center;"><span style="font-family: helvetica; font-size: x-small;">Ragnar Kjartansson, <em>Woman in E,</em> 2016 &copy; Courtesy of the artist, Luhring Augustine, New York and i8 Gallery, Reykjav&iacute;k. Photo Andrew Miller</span></p> </td> </tr> <!-- New Exhibition --> <tr><!-- Exhibition info --> <td style="border: 2px; border-style: dotted dotted dotted dotted; border-color: #b2b2b2; padding: 10px;" width="300"> <p><strong style="font-size: x-large;"><span style="font-family: helvetica;"><a style="text-decoration: none; color: #00cfa6;" href="http://www.artslant.com/ew/events/show/427394-paint-the-revolution-mexican-modernism-19101950" target="_blank"><em>Paint the Revolution: Mexican Modernism, 1910&ndash;1950</em><br /></a></span></strong></p> <p><span style="font-family: helvetica; font-size: small;">Curated by:&nbsp;<a style="text-decoration: none; color: #00cfa6;" href="http://www.artslant.com/ew/artists/show/152055-matthew-affron">Matthew Affron</a>,&nbsp;<a style="text-decoration: none; color: #00cfa6;" href="http://www.artslant.com/ew/artists/show/313818-mark-a-castro">Mark A. Castro</a><br /></span></p> <p><span style="font-size: small;"><strong><span style="font-family: helvetica;"><a style="text-decoration: none; color: #00cfa6;" href="http://www.artslant.com/ew/venues/show/17428-philadelphia-museum-of-art" target="_blank">Philadelphia Museum of Art</a></span></strong></span><br /><span style="font-family: helvetica; font-size: small;">2600 Benjamin Franklin Parkway<br />Philadelphia&nbsp;19130<br /></span></p> <p>&nbsp;</p> <!-- Opening dates --> <table style="vertical-align: baseline; padding: 10px; border: 2px; border-style: dotted none none none;"> <tbody> <tr> <td> <p><span style="font-family: helvetica; font-size: medium;">&nbsp;</span></p> <p style="text-align: left;"><span style="font-family: helvetica; font-size: small;">October 25, 2016&ndash;January 8, 2017<br /></span><span style="font-family: helvetica; font-size: small;">Opening:&nbsp;</span><span style="font-family: helvetica; font-size: small;">October 25, 10am&ndash;5pm</span></p> </td> </tr> </tbody> </table> </td> <!-- Image --> <td style="border: 2px; border-style: dotted dotted dotted dotted; border-color: #b2b2b2; padding: 10px;" width="300"> <p style="text-align: center;"><span style="font-family: helvetica; font-size: small;">&nbsp;<a href="http://www.artslant.com/ew/events/show/427394-paint-the-revolution-mexican-modernism-19101950" target="_blank"><img title="" src="http://dbprng00ikc2j.cloudfront.net/work/image/1006235/qg7swq/20160905170648-f.jpg" alt="" /></a></span></p> <!-- Caption --> <p style="text-align: center;"><span style="font-family: helvetica; font-size: x-small;">Frida Kahlo, <em>Autorretrato en la frontera entre M&eacute;xico y los Estados Unidos</em>, 1932, oil on metal, 12 1/2 &times; 13 3/4 inches &copy; Banco de M&eacute;xico Diego Rivera Frida Kahlo Museums Trust, Mexico, D. F. / Artists Rights Society (ARS), New York</span></p> </td> </tr> <!-- New Exhibition --> <tr><!-- Exhibition info --> <td style="border: 2px; border-style: dotted dotted dotted dotted; border-color: #b2b2b2; padding: 10px;" width="300"> <p><strong style="font-size: x-large;"><span style="font-family: helvetica;"><a style="text-decoration: none; color: #00cfa6;" href="http://www.artslant.com/ew/events/show/422146-the-artists-museum" target="_blank"><em>The Artist's Museum</em><br /></a></span></strong></p> <p><span style="font-family: helvetica; font-size: small;">Curated by:&nbsp;<a style="text-decoration: none; color: #00cfa6;" href="http://www.artslant.com/ew/artists/show/397452-jeffrey-de-blois" target="_blank">Jeffrey De Blois</a>,&nbsp;<a style="text-decoration: none; color: #00cfa6;" href="http://www.artslant.com/ew/artists/show/271976-dan-byers" target="_blank">Dan Byers</a><br /></span></p> <p><span style="font-size: small;"><strong><span style="font-family: helvetica;"><a style="text-decoration: none; color: #00cfa6;" href="http://www.artslant.com/ew/venues/show/4078-ica-the-institute-of-contemporary-art---boston" target="_blank">ICA Boston</a></span></strong></span><br /><span style="font-family: helvetica; font-size: small;">100 Northern Avenue<br />Boston, MA&nbsp;02210<br /></span></p> <p>&nbsp;</p> <!-- Opening dates --> <table style="vertical-align: baseline; padding: 10px; border: 2px; border-style: dotted none none none;"> <tbody> <tr> <td> <p><span style="font-family: helvetica; font-size: medium;">&nbsp;</span></p> <p style="text-align: left;"><span style="font-family: helvetica; font-size: small;">November 16, 2016&ndash;March 26, 2017<br /></span><span style="font-family: helvetica; font-size: small;">Opening:&nbsp;</span><span style="font-family: helvetica; font-size: small;">November 16, 10am&ndash;5pm</span></p> </td> </tr> </tbody> </table> </td> <!-- Image --> <td style="border: 2px; border-style: dotted dotted dotted dotted; border-color: #b2b2b2; padding: 10px;" width="300"> <p style="text-align: center;"><span style="font-family: helvetica; font-size: small;">&nbsp;<a href="http://www.artslant.com/ew/events/show/422146-the-artists-museum" target="_blank"><img title="" src="http://dbprng00ikc2j.cloudfront.net/work/image/996258/qg7swq/20160626162852-sa.jpg" alt="" /></a></span></p> <!-- Caption --> <p style="text-align: center;"><span style="font-family: helvetica; font-size: x-small;">Rosa Barba, The Hidden Conference: About the Shelf and Mantel (still), 2015, film installation. Courtesy the artist &copy; 2016 Rosa Barba</span></p> </td> </tr> <!-- New Exhibition --> <tr><!-- Exhibition info --> <td style="border: 2px; border-style: dotted dotted dotted dotted; border-color: #b2b2b2; padding: 10px;" width="300"> <p><strong style="font-size: x-large;"><span style="font-family: helvetica;"><a style="text-decoration: none; color: #00cfa6;" href="http://www.artslant.com/ew/events/show/427408-question-the-wall-itself" target="_blank"><em>Question the Wall Itself</em><br /></a></span></strong></p> <p><span style="font-family: helvetica; font-size: small;">Curated by:&nbsp;<a style="text-decoration: none; color: #00cfa6;" href="http://www.artslant.com/ew/artists/show/466394-jordan-carter">Jordan Carter</a>,&nbsp;<a style="text-decoration: none; color: #00cfa6;" href="http://www.artslant.com/ew/artists/show/145511-fionn-meade">Fionn Meade</a>&nbsp;</span></p> <p><span style="font-size: small;"><strong><span style="font-family: helvetica;"><a style="text-decoration: none; color: #00cfa6;" href="http://www.artslant.com/ew/venues/show/5741-walker-art-center" target="_blank">Walker Art Center</a></span></strong></span><br /><span style="font-family: helvetica; font-size: small;">1750 Hennepin Ave<br />Minneapolis, MN&nbsp;55403<br /></span></p> <p>&nbsp;</p> <!-- Opening dates --> <table style="vertical-align: baseline; padding: 10px; border: 2px; border-style: dotted none none none;"> <tbody> <tr> <td> <p><span style="font-family: helvetica; font-size: medium;">&nbsp;</span></p> <p style="text-align: left;"><span style="font-family: helvetica; font-size: small;">November 20, 2016&ndash;May 21, 2017<br /></span><span style="font-family: helvetica; font-size: small;">Opening:&nbsp;</span><span style="font-family: helvetica; font-size: small;">November 20, 11am&ndash;5pm</span></p> </td> </tr> </tbody> </table> </td> <!-- Image --> <td style="border: 2px; border-style: dotted dotted dotted dotted; border-color: #b2b2b2; padding: 10px;" width="300"> <p style="text-align: center;"><span style="font-family: helvetica; font-size: small;">&nbsp;<a href="http://www.artslant.com/ew/events/show/427408-question-the-wall-itself" target="_blank"><img title="" src="http://dbprng00ikc2j.cloudfront.net/work/image/1006249/qg7swq/20160905174712-1d176735d6d79b87b2e17a6fb39685fc.jpg" alt="" /></a></span></p> <!-- Caption --> <p style="text-align: center;"><span style="font-family: helvetica; font-size: x-small;">Jonathas de Andrade, <em>Nostalgia, um sentimento de classe (Nostalgia, a Class Sentiment)</em>, 2012 &copy; Courtesy of the Artist and Walker Art Center</span></p> </td> </tr> <!-- New Exhibition --> <tr><!-- Exhibition info --> <td style="border: 2px; border-style: dotted dotted dotted dotted; border-color: #b2b2b2; padding: 10px;" width="300"> <p><strong style="font-size: x-large;"><span style="font-family: helvetica;"><a style="text-decoration: none; color: #00cfa6;" href="http://www.artslant.com/ew/events/show/427530-l1-cest-moi" target="_blank">Andrea Fraser,<em> L&rsquo;1%, c&rsquo;est moi</em><br /></a></span></strong></p> <p><span style="font-family: helvetica; font-size: small;">Curated by:&nbsp;&nbsp;<a style="text-decoration: none; color: #00cfa6;" href="http://www.artslant.com/ew/artists/show/466473-hiuway-chiu" target="_blank">Hiuway Chiu</a>,&nbsp;<a style="text-decoration: none; color: #00cfa6;" href="http://www.artslant.com/ew/artists/show/103501-cuauht%C3%A9moc-medina" target="_blank">Cuauht&eacute;moc Medina</a>&nbsp;</span></p> <p><span style="font-size: small;"><strong><span style="font-family: helvetica;"><a style="text-decoration: none; color: #00cfa6;" href="http://www.artslant.com/ew/venues/show/5741-walker-art-center" target="_blank">Museo Universitario de Arte Contemporaneo (MUAC)<br /></a></span></strong></span><span style="font-family: helvetica; font-size: small;">Insurgentes Sur 3000<br />Centro Cultural Universitario<br />CP 04510&nbsp;Mexico City<br /></span></p> <p>&nbsp;</p> <!-- Opening dates --> <table style="vertical-align: baseline; padding: 10px; border: 2px; border-style: dotted none none none;"> <tbody> <tr> <td> <p><span style="font-family: helvetica; font-size: medium;">&nbsp;</span></p> <p style="text-align: left;"><span style="font-family: helvetica; font-size: small;">October 15, 2016&ndash;March 12, 2017<br /></span><span style="font-family: helvetica; font-size: small;">Opening:&nbsp;</span><span style="font-family: helvetica; font-size: small;">October 15, 12&ndash;8pm</span></p> </td> </tr> </tbody> </table> </td> <!-- Image --> <td style="border: 2px; border-style: dotted dotted dotted dotted; border-color: #b2b2b2; padding: 10px;" width="300"> <p style="text-align: center;"><span style="font-family: helvetica; font-size: small;">&nbsp;<a href="http://www.artslant.com/ew/events/show/427530-l1-cest-moi" target="_blank"><img title="" src="http://dbprng00ikc2j.cloudfront.net/work/image/1006426/qg7swq/20160906174529-a.jpg" alt="" /></a></span></p> <!-- Caption --> <p style="text-align: center;"><span style="font-family: helvetica; font-size: x-small;">Andrea Fraser, U<em>n monumento a las fantas&iacute;as descartadas [Um monumento &agrave;s Frantasias Decartadas] &mdash;A Monument to Discarded Fantasies</em>, 2003 [Cat. 31] &copy; Courtesy of the Artist and Museo Universitario de Arte Contemporaneo (MUAC)</span></p> </td> </tr> <!-- New Exhibition --> <tr><!-- Exhibition info --> <td style="border: 2px; border-style: dotted dotted dotted dotted; border-color: #b2b2b2; padding: 10px;" width="300"> <p><strong style="font-size: x-large;"><span style="font-family: helvetica;"><a style="text-decoration: none; color: #00cfa6;" href="http://www.artslant.com/ew/events/show/427526-broken-time" target="_blank">General Idea,</a><em style="text-decoration: none; color: #00cfa6;"><a style="text-decoration: none; color: #00cfa6;" href="http://www.artslant.com/ew/events/show/427526-broken-time" target="_blank"> Broken Time</a></em></span></strong></p> <p><span style="font-family: helvetica; font-size: small;">Curated by:&nbsp;</span><a style="text-decoration: none; color: #00cfa6;" href="http://www.artslant.com/ew/artists/show/364306-agustin-perez-rubio" target="_blank">Augustin Perez Rubio</a></p> <p><span style="font-size: small;"><strong><span style="font-family: helvetica;"><a style="text-decoration: none; color: #00cfa6;" href="http://www.artslant.com/ew/venues/show/55677-museo-jumex" target="_blank">Museo Jumex</a></span></strong></span><br /><span style="font-family: helvetica; font-size: small;">Miguel de Cervantes Saavedra 303<br />Colonia Granada&nbsp;<br />11520&nbsp;Mexico City<br /></span></p> <p>&nbsp;</p> <!-- Opening dates --> <table style="vertical-align: baseline; padding: 10px; border: 2px; border-style: dotted none none none;"> <tbody> <tr> <td> <p><span style="font-family: helvetica; font-size: medium;">&nbsp;</span></p> <p style="text-align: left;"><span style="font-family: helvetica; font-size: small;">October 27, 2016&ndash;February 12, 2017</span></p> </td> </tr> </tbody> </table> </td> <!-- Image --> <td style="border: 2px; border-style: dotted dotted dotted dotted; border-color: #b2b2b2; padding: 10px;" width="300"> <p style="text-align: center;"><span style="font-family: helvetica; font-size: small;">&nbsp;<a href="http://www.artslant.com/ew/events/show/427526-broken-time" target="_blank"><img title="" src="http://dbprng00ikc2j.cloudfront.net/work/image/1006422/qg7swq/20160906173831-General_Idea_Playing_Doctor_1992_Ektachrome.jpg" alt="" /></a></span></p> <!-- Caption --> <p style="text-align: center;"><span style="font-family: helvetica; font-size: x-small;">General Idea, <em>Playing Doctor</em> &copy; Courtesy of General Idea Estate. Photo: General Idea</span></p> </td> </tr> <tr> <td>&nbsp;</td> </tr> <tr><!-- City --> <td colspan="2"><strong><a name="London"></a><em><span style="font-size: xx-large; font-family: arial, helvetica, sans-serif; padding: 10px; padding-top: 10px; padding-bottom: 10px;">London</span></em></strong></td> </tr> <!-- New Exhibition --> <tr><!-- Exhibition info --> <td style="border: 2px; border-style: dotted dotted dotted dotted; border-color: #b2b2b2; padding: 10px;" width="300"> <p><strong style="font-size: x-large;"><span style="font-family: helvetica;"><em style="text-decoration: none; color: #00cfa6;"><a style="text-decoration: none; color: #00cfa6;" href="http://www.artslant.com/lon/events/show/425517-the-infinite-mix-sound-and-image-in-contemporary-video" target="_blank">THE INFINITE MIX: Sound and Image in Contemporary Video</a></em></span></strong></p> <p><span style="font-size: small;"><strong><span style="font-family: helvetica;"><a style="text-decoration: none; color: #00cfa6;" href="http://www.artslant.com/lon/venues/show/55615-the-store" target="_blank">Hayward Gallery @ The Store</a></span></strong></span><br /><span style="font-family: helvetica; font-size: small;">180 The Strand<br />London&nbsp;WC2R 1EA<br /></span></p> <p>&nbsp;</p> <!-- Opening dates --> <table style="vertical-align: baseline; padding: 10px; border: 2px; border-style: dotted none none none;"> <tbody> <tr> <td> <p><span style="font-family: helvetica; font-size: medium;">&nbsp;</span></p> <p style="text-align: left;"><span style="font-family: helvetica; font-size: small;">September 9&ndash;December 4</span></p> </td> </tr> </tbody> </table> </td> <!-- Image --> <td style="border: 2px; border-style: dotted dotted dotted dotted; border-color: #b2b2b2; padding: 10px;" width="300"> <p style="text-align: center;"><span style="font-family: helvetica; font-size: small;">&nbsp;<a href="http://www.artslant.com/lon/events/show/425517-the-infinite-mix-sound-and-image-in-contemporary-video" target="_blank"><img title="" src="http://dbprng00ikc2j.cloudfront.net/work/image/1002986/qg7swq/20160815143104-080916_infinate_mix_web.jpg" alt="" /></a></span></p> <!-- Caption --> <p style="text-align: center;"><span style="font-family: helvetica; font-size: x-small;">Ugo Rondinone &copy; Image courtesy the artist; Galerie Eva Presenhuber and Barbara Gladstone Gallery, New York/ Brussels</span></p> </td> </tr> <!-- New Exhibition --> <tr><!-- Exhibition info --> <td style="border: 2px; border-style: dotted dotted dotted dotted; border-color: #b2b2b2; padding: 10px;" width="300"> <p><strong style="font-size: x-large;"><span style="font-family: helvetica;"><em style="text-decoration: none; color: #00cfa6;"><a style="text-decoration: none; color: #00cfa6;" href="http://www.artslant.com/lon/events/show/427465-the-ey-exhibition-wifredo-lam" target="_blank">The EY Exhibition: Wifredo Lam</a></em></span></strong></p> <p><span style="font-size: small;"><strong><span style="font-family: helvetica;"><a style="text-decoration: none; color: #00cfa6;" href="http://www.artslant.com/lon/venues/show/2441-tate-modern" target="_blank">Tate Modern</a></span></strong></span><br /><span style="font-family: helvetica; font-size: small;">Bankside <br />London SE1 9TG<br /></span></p> <p>&nbsp;</p> <!-- Opening dates --> <table style="vertical-align: baseline; padding: 10px; border: 2px; border-style: dotted none none none;"> <tbody> <tr> <td> <p><span style="font-family: helvetica; font-size: medium;">&nbsp;</span></p> <p style="text-align: left;"><span style="font-family: helvetica; font-size: small;">September 14, 2016&ndash;January 8, 2017<br /></span><span style="font-family: helvetica; font-size: small;">Opening:&nbsp;</span><span style="font-family: helvetica; font-size: small;">September 14, 10am&ndash;6pm</span></p> </td> </tr> </tbody> </table> </td> <!-- Image --> <td style="border: 2px; border-style: dotted dotted dotted dotted; border-color: #b2b2b2; padding: 10px;" width="300"> <p style="text-align: center;"><span style="font-family: helvetica; font-size: small;">&nbsp;<a href="http://www.artslant.com/lon/events/show/427465-the-ey-exhibition-wifredo-lam" target="_blank"><img title="" src="http://dbprng00ikc2j.cloudfront.net/work/image/1006352/qg7swq/20160906064420-x62246.jpg" alt="" /></a></span></p> <!-- Caption --> <p style="text-align: center;"><span style="font-family: helvetica; font-size: x-small;">Wifredo Lam, <em>Horse-headed Woman</em>, 1950, oil paint on canvas, The Rudman Trust &copy; SDO Estate of Wifredo Lam</span></p> </td> </tr> <!-- New Exhibition --> <tr><!-- Exhibition info --> <td style="border: 2px; border-style: dotted dotted dotted dotted; border-color: #b2b2b2; padding: 10px;" width="300"> <p><strong style="font-size: x-large;"><span style="font-family: helvetica;"><a style="text-decoration: none; color: #00cfa6;" href="http://www.artslant.com/lon/events/show/427294-requests-and-antisongs" target="_blank"><span style="color: #00cfa6;">James Richards,</span><em style="text-decoration: none; color: #00cfa6;"> Requests and Antisongs</em></a></span></strong></p> <p><span style="font-size: small;"><strong><span style="font-family: helvetica;"><a style="text-decoration: none; color: #00cfa6;" href="http://www.artslant.com/lon/venues/show/2631-institute-of-contemporary-arts-ica" target="_blank">ICA London</a></span></strong></span><br /><span style="font-family: helvetica; font-size: small;">The Mall<br />London&nbsp;SW1Y 5AH<br /></span></p> <p>&nbsp;</p> <!-- Opening dates --> <table style="vertical-align: baseline; padding: 10px; border: 2px; border-style: dotted none none none;"> <tbody> <tr> <td> <p><span style="font-family: helvetica; font-size: medium;">&nbsp;</span></p> <p style="text-align: left;"><span style="font-family: helvetica; font-size: small;">September 21&ndash;November 13<br /></span><span style="font-family: helvetica; font-size: small;">Opening:&nbsp;</span><span style="font-family: helvetica; font-size: small;">September 21, 6:30&ndash;9pm</span></p> </td> </tr> </tbody> </table> </td> <!-- Image --> <td style="border: 2px; border-style: dotted dotted dotted dotted; border-color: #b2b2b2; padding: 10px;" width="300"> <p style="text-align: center;"><span style="font-family: helvetica; font-size: small;">&nbsp;<a href="http://www.artslant.com/lon/events/show/427294-requests-and-antisongs" target="_blank"><img title="" src="http://dbprng00ikc2j.cloudfront.net/work/image/1006061/qg7swq/20160904160127-WEBICA_James_Richards__Radio-at-Night.png" alt="" /></a></span></p> <!-- Caption --> <p style="text-align: center;"><span style="font-family: helvetica; font-size: x-small;">James Richards, <em>Radio at Night</em>, 2015 &copy; Courtesy of the Artist and Institute of Contemporary Arts (ICA)</span></p> </td> </tr> <!-- New Exhibition --> <tr><!-- Exhibition info --> <td style="border: 2px; border-style: dotted dotted dotted dotted; border-color: #b2b2b2; padding: 10px;" width="300"> <p><strong style="font-size: x-large;"><span style="font-family: helvetica;"><a style="text-decoration: none; color: #00cfa6;" href="http://www.artslant.com/lon/events/show/423448-solo-exhibition" target="_blank">Donna Huanca: Zabludowicz Collection Commission</a><br /></span></strong></p> <p><span style="font-size: small;"><strong><span style="font-family: helvetica;"><a style="text-decoration: none; color: #00cfa6;" href="http://www.artslant.com/lon/venues/show/13233-zabludowicz-collection" target="_blank">Zabludowicz Collection</a></span></strong></span><br /><span style="font-family: helvetica; font-size: small;">176 Prince of Wales Road&nbsp;<br />London&nbsp;NW5 3PT<br /></span></p> <p>&nbsp;</p> <!-- Opening dates --> <table style="vertical-align: baseline; padding: 10px; border: 2px; border-style: dotted none none none;"> <tbody> <tr> <td> <p><span style="font-family: helvetica; font-size: medium;">&nbsp;</span></p> <p style="text-align: left;"><span style="font-family: helvetica; font-size: small;">September 29&ndash;December 18</span></p> </td> </tr> </tbody> </table> </td> <!-- Image --> <td style="border: 2px; border-style: dotted dotted dotted dotted; border-color: #b2b2b2; padding: 10px;" width="300"> <p style="text-align: center;"><span style="font-family: helvetica; font-size: small;">&nbsp;<a href="http://www.artslant.com/lon/events/show/423448-solo-exhibition" target="_blank"><img title="" src="http://dbprng00ikc2j.cloudfront.net/work/image/999139/qg7swq/20160718085408-Donna-Huanca-Muscle-Memory-Performance-Views-2015-13-LEAD.jpg" alt="" /></a></span></p> <!-- Caption --> <p style="text-align: center;"><span style="font-family: helvetica; font-size: x-small;">Donna Huanca, <em>Muscle Memory</em>, 2015, Performance view &copy; Courtesy of the Artist and Zabludowicz Collection</span></p> </td> </tr> <!-- New Exhibition --> <tr><!-- Exhibition info --> <td style="border: 2px; border-style: dotted dotted dotted dotted; border-color: #b2b2b2; padding: 10px;" width="300"> <p><strong style="font-size: x-large;"><span style="font-family: helvetica;"><a style="text-decoration: none; color: #00cfa6;" href="http://www.artslant.com/lon/events/show/427306-the-source-of-art-is-in-the-life-of-a-people" target="_blank"><span style="color: #00cfa6;">Roman Ond&aacute;k,</span><em style="text-decoration: none; color: #00cfa6;"> The Source of Art is in the Life of a People</em></a></span></strong></p> <p><span style="font-size: small;"><strong><span style="font-family: helvetica;"><a style="text-decoration: none; color: #00cfa6;" href="http://www.artslant.com/lon/venues/show/9441-south-london-gallery" target="_blank">South London Gallery</a></span></strong></span><br /><span style="font-family: helvetica; font-size: small;">65 Peckham Road<br />London&nbsp;SE5 8UH<br /></span></p> <p>&nbsp;</p> <!-- Opening dates --> <table style="vertical-align: baseline; padding: 10px; border: 2px; border-style: dotted none none none;"> <tbody> <tr> <td> <p><span style="font-family: helvetica; font-size: medium;">&nbsp;</span></p> <p style="text-align: left;"><span style="font-family: helvetica; font-size: small;">September 29, 2016&ndash;January 6, 2017<br /></span><span style="font-family: helvetica; font-size: small;">Opening:&nbsp;</span><span style="font-family: helvetica; font-size: small;">September 29, 6&ndash;8pm</span></p> </td> </tr> </tbody> </table> </td> <!-- Image --> <td style="border: 2px; border-style: dotted dotted dotted dotted; border-color: #b2b2b2; padding: 10px;" width="300"> <p style="text-align: center;"><span style="font-family: helvetica; font-size: small;">&nbsp;<a href="http://www.artslant.com/lon/events/show/427306-the-source-of-art-is-in-the-life-of-a-people" target="_blank"><img title="" src="http://dbprng00ikc2j.cloudfront.net/work/image/1006072/qg7swq/20160904163904-Photo__Roman_Ondak_portrait_web.jpg" alt="" /></a></span></p> <!-- Caption --> <p style="text-align: center;"><span style="font-family: helvetica; font-size: x-small;">&copy; Roman Ond&aacute;k</span></p> </td> </tr> <!-- New Exhibition --> <tr><!-- Exhibition info --> <td style="border: 2px; border-style: dotted dotted dotted dotted; border-color: #b2b2b2; padding: 10px;" width="300"> <p><strong style="font-size: x-large;"><span style="font-family: helvetica;"><a style="text-decoration: none; color: #00cfa6;" href="http://www.artslant.com/lon/events/show/427466-drunk-brown-house" target="_blank"><span style="color: #00cfa6;">Helen Marten,</span><em style="text-decoration: none; color: #00cfa6;">Drunk Brown House</em></a></span></strong></p> <p><span style="font-size: small;"><strong><span style="font-family: helvetica;"><a style="text-decoration: none; color: #00cfa6;" href="http://www.artslant.com/lon/venues/show/42570-serpentine-sackler-gallery" target="_blank">Serpentine Sackler Gallery</a></span></strong></span><br /><span style="font-family: helvetica; font-size: small;">Serpentine Road London W2 2UH<br /></span></p> <p>&nbsp;</p> <!-- Opening dates --> <table style="vertical-align: baseline; padding: 10px; border: 2px; border-style: dotted none none none;"> <tbody> <tr> <td> <p><span style="font-family: helvetica; font-size: medium;">&nbsp;</span></p> <p style="text-align: left;"><span style="font-family: helvetica; font-size: small;">September 29&mdash;November 20</span></p> </td> </tr> </tbody> </table> </td> <!-- Image --> <td style="border: 2px; border-style: dotted dotted dotted dotted; border-color: #b2b2b2; padding: 10px;" width="300"> <p style="text-align: center;"><span style="font-family: helvetica; font-size: small;">&nbsp;<a href="http://www.artslant.com/lon/events/show/427466-drunk-brown-house" target="_blank"><img title="" src="http://dbprng00ikc2j.cloudfront.net/work/image/1006353/qg7swq/20160906064911-annik-wetter_51410.jpg" alt="" /></a></span></p> <!-- Caption --> <p style="text-align: center;"><span style="font-family: helvetica; font-size: x-small;">Helen Marten, Installation view, <em>Eucalyptus, Let us in</em>, Greene Naftali, New York, 2016 Photograph: Annik Wetter, Geneva &copy; Helen Marten Courtesy of Sadie Coles HQ, London, Koenig Galerie, Berlin, Greene Naftali, New York, T293, Naples and Rome</span></p> </td> </tr> <tr> <td>&nbsp;</td> </tr> <tr><!-- City --> <td colspan="2"><a name="Europe"></a><em><strong><span style="font-size: xx-large; font-family: arial, helvetica, sans-serif; padding: 10px; padding-top: 10px; padding-bottom: 10px;">Paris, Italy, Across Europe and Beyond</span></strong></em></td> </tr> <!-- New Exhibition --> <tr><!-- Exhibition info --> <td style="border: 2px; border-style: dotted dotted dotted dotted; border-color: #b2b2b2; padding: 10px;" width="300"> <p><strong style="font-size: x-large;"><span style="font-family: helvetica;"><a style="text-decoration: none; color: #00cfa6;" href="http://www.artslant.com/par/events/show/427396-solo-exhibition" target="_blank">Tino Sehgal<br /></a></span></strong></p> <p><span style="font-family: helvetica; font-size: small;">Curated by:&nbsp;<a style="text-decoration: none; color: #00cfa6;" href="http://www.artslant.com/par/artists/show/209576-rebecca-lamarche-vadel" target="_blank">Rebecca Lamarche-Vadel</a><br /></span></p> <p><span style="font-size: small;"><strong><span style="font-family: helvetica;"><a style="text-decoration: none; color: #00cfa6;" href="http://www.artslant.com/par/venues/show/2480-palais-de-tokyo" target="_blank">Palais de Tokyo</a></span></strong></span><br /><span style="font-family: helvetica; font-size: small;">13 Ave du Pr&eacute;sident Wilson&nbsp;<br />75016&nbsp;Paris<br /></span></p> <p>&nbsp;</p> <!-- Opening dates --> <table style="vertical-align: baseline; padding: 10px; border: 2px; border-style: dotted none none none;"> <tbody> <tr> <td> <p><span style="font-family: helvetica; font-size: medium;">&nbsp;</span></p> <p style="text-align: left;"><span style="font-family: helvetica; font-size: small;">October 12&ndash;December 18<br /></span><span style="font-family: helvetica; font-size: small;">Opening:&nbsp;</span><span style="font-family: helvetica; font-size: small;">October 12, 12pm&ndash;12am</span></p> </td> </tr> </tbody> </table> </td> <!-- Image --> <td style="border: 2px; border-style: dotted dotted dotted dotted; border-color: #b2b2b2; padding: 10px;" width="300"> <p style="text-align: center;"><span style="font-family: helvetica; font-size: small;">&nbsp;<a href="http://www.artslant.com/par/events/show/427396-solo-exhibition" target="_blank"><img title="" src="http://dbprng00ikc2j.cloudfront.net/work/image/1006236/qg7swq/20160905171627-palais.jpg" alt="" /></a></span></p> <!-- Caption --> <p style="text-align: center;"><span style="font-family: helvetica; font-size: x-small;">&copy; Courtesy of the Artist and Palais de Tokyo</span></p> </td> </tr> <!-- New Exhibition --> <tr><!-- Exhibition info --> <td style="border: 2px; border-style: dotted dotted dotted dotted; border-color: #b2b2b2; padding: 10px;" width="300"> <p><strong style="font-size: x-large;"><span style="font-family: helvetica;"><em style="text-decoration: none; color: #00cfa6;"><a style="text-decoration: none; color: #00cfa6;" href="http://www.artslant.com/ew/events/show/427435-one-and-the-many" target="_blank">One and the Many</a></em></span></strong></p> <p><span style="font-size: small;"><strong><span style="font-family: helvetica;"><a style="text-decoration: none; color: #00cfa6;" href="http://www.artslant.com/ew/venues/show/55671-salt-galata" target="_blank">SALT Galata</a></span></strong></span><br /><span style="font-family: helvetica; font-size: small;">Bankalar Caddesi 11<br />Karak&ouml;y<br />34420&nbsp;İstanbul<br /></span></p> <p>&nbsp;</p> <!-- Opening dates --> <table style="vertical-align: baseline; padding: 10px; border: 2px; border-style: dotted none none none;"> <tbody> <tr> <td> <p><span style="font-family: helvetica; font-size: medium;">&nbsp;</span></p> <p style="text-align: left;"><span style="font-family: helvetica; font-size: small;">September 6&ndash;November 13</span></p> </td> </tr> </tbody> </table> </td> <!-- Image --> <td style="border: 2px; border-style: dotted dotted dotted dotted; border-color: #b2b2b2; padding: 10px;" width="300"> <p style="text-align: center;"><span style="font-family: helvetica; font-size: small;">&nbsp;<a href="http://www.artslant.com/ew/events/show/427435-one-and-the-many" target="_blank"><img title="" src="http://dbprng00ikc2j.cloudfront.net/work/image/1006276/qg7swq/20160905192347-0001-3-jpg-460-5000-false.jpg" alt="" /></a></span></p> <!-- Caption --> <p style="text-align: center;"><span style="font-family: helvetica; font-size: x-small;">Fatoş Toys, products of 1976-86 &copy; Fatoş İnhan Archive</span></p> </td> </tr> <!-- New Exhibition --> <tr><!-- Exhibition info --> <td style="border: 2px; border-style: dotted dotted dotted dotted; border-color: #b2b2b2; padding: 10px;" width="300"> <p><strong style="font-size: x-large;"><span style="font-family: helvetica;"><a style="text-decoration: none; color: #00cfa6;" href="http://www.artslant.com/brx/events/show/425651-corpus" target="_blank">Helena Almeida,<em> Corpus</em><br /></a></span></strong></p> <p><span style="font-family: helvetica; font-size: small;">Curated by:&nbsp;<a style="text-decoration: none; color: #00cfa6;" href="http://www.artslant.com/brx/artists/show/447499-marta-almeida" target="_blank">Marta Almeida</a>,&nbsp;<a style="text-decoration: none; color: #00cfa6;" href="http://www.artslant.com/brx/artists/show/314609-devrim-bayar" target="_blank">Devrim Bayar</a>,&nbsp;<a style="text-decoration: none; color: #00cfa6;" href="http://www.artslant.com/brx/artists/show/1503-jo%C3%A3o-ribas" target="_blank">Jo&atilde;o Ribas</a>&nbsp;<br /></span></p> <p><span style="font-size: small;"><strong><span style="font-family: helvetica;"><a style="text-decoration: none; color: #00cfa6;" href="http://www.artslant.com/brx/venues/show/24046-wiels" target="_blank">WIELS</a></span></strong></span><br /><span style="font-family: helvetica; font-size: small;">Av. Van Volxemlaan 354&nbsp;<br />1190&nbsp;Brussels<br /></span></p> <p>&nbsp;</p> <!-- Opening dates --> <table style="vertical-align: baseline; padding: 10px; border: 2px; border-style: dotted none none none;"> <tbody> <tr> <td> <p><span style="font-family: helvetica; font-size: medium;">&nbsp;</span></p> <p style="text-align: left;"><span style="font-family: helvetica; font-size: small;">September 10&ndash;December 11<br /></span><span style="font-family: helvetica; font-size: small;">Opening:&nbsp;</span><span style="font-family: helvetica; font-size: small;">September 9, 7&ndash;9pm</span></p> </td> </tr> </tbody> </table> </td> <!-- Image --> <td style="border: 2px; border-style: dotted dotted dotted dotted; border-color: #b2b2b2; padding: 10px;" width="300"> <p style="text-align: center;"><span style="font-family: helvetica; font-size: small;">&nbsp;<a href="http://www.artslant.com/brx/events/show/425651-corpus" target="_blank"><img title="" src="http://dbprng00ikc2j.cloudfront.net/work/image/1003198/qg7swq/20160816182910-Helena-Almeida-Corpus.png" alt="" /></a></span></p> <!-- Caption --> <p style="text-align: center;"><span style="font-family: helvetica; font-size: x-small;">Helena Almeida &copy; Courtesy of the Artist and WIELS</span></p> </td> </tr> <!-- New Exhibition --> <tr><!-- Exhibition info --> <td style="border: 2px; border-style: dotted dotted dotted dotted; border-color: #b2b2b2; padding: 10px;" width="300"> <p><strong style="font-size: x-large;"><span style="font-family: helvetica;"><a style="text-decoration: none; color: #00cfa6;" href="http://www.artslant.com/ew/events/show/427411-uneasy-dancer" target="_blank">Betye Saar,<em> Uneasy Dancer</em><br /></a></span></strong></p> <p><span style="font-family: helvetica; font-size: small;">Curated by:&nbsp;<a style="text-decoration: none; color: #00cfa6;" href="http://www.artslant.com/ew/artists/show/338559-elvira-dyangani-ose" target="_blank">Elvira Dyangani Ose</a><br /></span></p> <p><span style="font-size: small;"><strong><span style="font-family: helvetica;"><a style="text-decoration: none; color: #00cfa6;" href="http://www.artslant.com/ew/venues/show/55462-fondazione-prada---milano" target="_blank">Fondazione Prada</a></span></strong></span><br /><span style="font-family: helvetica; font-size: small;">Largo Isarco, 2<br />20139&nbsp;Milan<br /></span></p> <p>&nbsp;</p> <!-- Opening dates --> <table style="vertical-align: baseline; padding: 10px; border: 2px; border-style: dotted none none none;"> <tbody> <tr> <td> <p><span style="font-family: helvetica; font-size: medium;">&nbsp;</span></p> <p style="text-align: left;"><span style="font-family: helvetica; font-size: small;">September 15, 2016&ndash;January 8, 2017</span><span style="font-family: helvetica; font-size: small;"><br /></span></p> </td> </tr> </tbody> </table> </td> <!-- Image --> <td style="border: 2px; border-style: dotted dotted dotted dotted; border-color: #b2b2b2; padding: 10px;" width="300"> <p style="text-align: center;"><span style="font-family: helvetica; font-size: small;">&nbsp;<a href="http://www.artslant.com/ew/events/show/427411-uneasy-dancer" target="_blank"><img title="" src="http://dbprng00ikc2j.cloudfront.net/work/image/1006253/qg7swq/20160905175129-bn.jpg" alt="" /></a></span></p> <!-- Caption --> <p style="text-align: center;"><span style="font-family: helvetica; font-size: x-small;">Betye Saar, The Phrenologer&rsquo;s Window II, 1966 &copy; Courtesy of the artist and Roberts &amp; Tilton, Los Angeles. Photo Robert Wedemeyer</span></p> </td> </tr> <!-- New Exhibition --> <tr><!-- Exhibition info --> <td style="border: 2px; border-style: dotted dotted dotted dotted; border-color: #b2b2b2; padding: 10px;" width="300"> <p><strong style="font-size: x-large;"><span style="font-family: helvetica;"><a style="text-decoration: none; color: #00cfa6;" href="http://www.artslant.com/ew/events/show/427514-situations" target="_blank">Kishio Suga,<em>&nbsp;Situations</em><br /></a></span></strong></p> <p><span style="font-family: helvetica; font-size: small;">Curated by:&nbsp;<a style="text-decoration: none; color: #00cfa6;" href="http://www.artslant.com/ew/artists/show/95337-yuko-hasegawa" target="_blank">Yuko Hasegawa</a>,&nbsp;<a style="text-decoration: none; color: #00cfa6;" href="http://www.artslant.com/ew/artists/show/146724-vicente-todol%C3%AD" target="_blank">Vicente Todol&iacute;</a><a style="text-decoration: none; color: #00cfa6;" href="http://www.artslant.com/ew/artists/show/338559-elvira-dyangani-ose" target="_blank">&nbsp;<br /><br /></a></span><strong style="font-size: small;"><span style="font-family: helvetica;"><a style="text-decoration: none; color: #00cfa6;" href="http://www.artslant.com/ew/venues/show/36826-pirelli-hangarbicocca" target="_blank">Pirelli HangarBiccoca<br /></a></span></strong><span style="font-family: helvetica; font-size: small;">Via Chiese 2<br /></span><span style="font-family: helvetica; font-size: small;">20126&nbsp;Milan</span></p> <p>&nbsp;</p> <!-- Opening dates --> <table style="vertical-align: baseline; padding: 10px; border: 2px; border-style: dotted none none none;"> <tbody> <tr> <td> <p><span style="font-family: helvetica; font-size: medium;">&nbsp;</span></p> <p style="text-align: left;"><span style="font-family: helvetica; font-size: small;">September 30, 2016&ndash;January 29, 2017<br />Opening: September 29, 7&ndash;9pm</span></p> </td> </tr> </tbody> </table> </td> <!-- Image --> <td style="border: 2px; border-style: dotted dotted dotted dotted; border-color: #b2b2b2; padding: 10px;" width="300"> <p style="text-align: center;"><span style="font-family: helvetica; font-size: small;">&nbsp;<a href="http://www.artslant.com/ew/events/show/427514-situations" target="_blank"><img title="" src="http://dbprng00ikc2j.cloudfront.net/work/image/1006411/qg7swq/20160906170703-KS_1_PARALLEL-STRATA.jpg" alt="" /></a></span></p> <!-- Caption --> <p style="text-align: center;"><span style="font-family: helvetica; font-size: x-small;">Kishio Suga &copy; Courtesy of the Artist and Pirelli HangarBicocca</span></p> </td> </tr> <!-- New Exhibition --> <tr><!-- Exhibition info --> <td style="border: 2px; border-style: dotted dotted dotted dotted; border-color: #b2b2b2; padding: 10px;" width="300"> <p><strong style="font-size: x-large;"><span style="font-family: helvetica;"><a style="text-decoration: none; color: #00cfa6;" href="http://www.artslant.com/ams/events/show/425098-what-the-heart-wants" target="_blank">C&eacute;cile B. Evans, <em>What the Heart Wants</em><br /></a></span></strong></p> <p><span style="font-family: helvetica; font-size: small;"><strong style="font-family: Verdana, Arial, Helvetica, sans-serif;"><span style="font-family: helvetica;"><a style="text-decoration: none; color: #00cfa6;" href="http://www.artslant.com/ams/venues/show/37005-de-hallen-haarlem" target="_blank">De Hallen Haarlem<br /></a></span></strong></span><span style="font-family: helvetica; font-size: small;">Grote Markt 16<br />Haarlem,&nbsp;Netherlands<br /></span></p> <p>&nbsp;</p> <!-- Opening dates --> <table style="vertical-align: baseline; padding: 10px; border: 2px; border-style: dotted none none none;"> <tbody> <tr> <td> <p><span style="font-family: helvetica; font-size: medium;">&nbsp;</span></p> <p style="text-align: left;"><span style="font-family: helvetica; font-size: small;">September 24, 2016&ndash;January 8, 2017<br /></span><span style="font-family: helvetica; font-size: small;">Opening:&nbsp;</span><span style="font-family: helvetica; font-size: small;">September 24, 11am&ndash;5pm</span></p> </td> </tr> </tbody> </table> </td> <!-- Image --> <td style="border: 2px; border-style: dotted dotted dotted dotted; border-color: #b2b2b2; padding: 10px;" width="300"> <p style="text-align: center;"><span style="font-family: helvetica; font-size: small;">&nbsp;<a href="http://www.artslant.com/ams/events/show/425098-what-the-heart-wants" target="_blank"><img title="" src="http://dbprng00ikc2j.cloudfront.net/work/image/1002323/qg7swq/20160809141921-e54e029c009d41535d5a181d801ffe2e.jpg" alt="" /></a></span></p> <!-- Caption --> <p style="text-align: center;"><span style="font-family: helvetica; font-size: x-small;">C&eacute;cile B. Evans, <em>What The Heart Wants</em>, 2016 &copy; Courtesy C&eacute;cile B. Evans/ Barbara Seiler, Z&uuml;rich; Galerie Emanuel Layr, Wenen</span></p> </td> </tr> <!-- New Exhibition --> <tr><!-- Exhibition info --> <td style="border: 2px; border-style: dotted dotted dotted dotted; border-color: #b2b2b2; padding: 10px;" width="300"> <p><strong style="font-size: x-large;"><span style="font-family: helvetica;"><a style="text-decoration: none; color: #00cfa6;" href="http://www.artslant.com/ew/events/show/422146-the-artists-museum" target="_blank">Tetsumi Kudo, <em>Retrospective</em><br /></a></span></strong></p> <p><span style="font-family: helvetica; font-size: small;">Curated by:&nbsp;<a style="text-decoration: none; color: #00cfa6;" href="http://www.artslant.com/ew/artists/show/23244-susanne-pfeffer" target="_blank">Susanne Pfeffer</a><br /></span></p> <p><span style="font-size: small;"><strong><span style="font-family: helvetica;"><a style="text-decoration: none; color: #00cfa6;" href="http://www.artslant.com/ew/venues/show/55669-fridericianum" target="_blank">Fridericianum</a></span></strong></span><br /><span style="font-family: helvetica; font-size: small;">Friedrichsplatz 18<br />34117&nbsp;Kassel<br /></span></p> <p>&nbsp;</p> <!-- Opening dates --> <table style="vertical-align: baseline; padding: 10px; border: 2px; border-style: dotted none none none;"> <tbody> <tr> <td> <p><span style="font-family: helvetica; font-size: medium;">&nbsp;</span></p> <p style="text-align: left;"><span style="font-family: helvetica; font-size: small;">September 25, 2016&ndash;January 1, 2017<br /></span><span style="font-family: helvetica; font-size: small;">Opening:&nbsp;</span><span style="font-family: helvetica; font-size: small;">September 25, 11am&ndash;6pm</span></p> </td> </tr> </tbody> </table> </td> <!-- Image --> <td style="border: 2px; border-style: dotted dotted dotted dotted; border-color: #b2b2b2; padding: 10px;" width="300"> <p style="text-align: center;"><span style="font-family: helvetica; font-size: small;">&nbsp;<a href="http://www.artslant.com/ew/events/show/422146-the-artists-museum" target="_blank"><img title="" src="http://dbprng00ikc2j.cloudfront.net/work/image/1006258/qg7swq/20160905181322-tetsumi-kudo-web.jpg" alt="" /></a></span></p> <!-- Caption --> <p style="text-align: center;"><span style="font-family: helvetica; font-size: x-small;">&copy; Courtesy of the Artist and Fridericianum</span></p> </td> </tr> <!-- New Exhibition --> <tr><!-- Exhibition info --> <td style="border: 2px; border-style: dotted dotted dotted dotted; border-color: #b2b2b2; padding: 10px;" width="300"> <p><strong style="font-size: x-large;"><span style="font-family: helvetica;"><a style="text-decoration: none; color: #00cfa6;" href="http://www.artslant.com/ew/events/show/427429-solo-exhibition" target="_blank">Avery Singer</a></span></strong></p> <p><span style="font-size: small;"><strong><span style="font-family: helvetica;"><a style="text-decoration: none; color: #00cfa6;" href="http://www.artslant.com/ew/venues/show/27435-secession-vienna" target="_blank">Secession Vienna</a></span></strong></span><br /><span style="font-family: helvetica; font-size: small;">Friedrichstra&szlig;e 12<br />1010&nbsp;Vienna<br /></span></p> <p>&nbsp;</p> <!-- Opening dates --> <table style="vertical-align: baseline; padding: 10px; border: 2px; border-style: dotted none none none;"> <tbody> <tr> <td> <p><span style="font-family: helvetica; font-size: medium;">&nbsp;</span></p> <p style="text-align: left;"><span style="font-family: helvetica; font-size: small;">November 18, 2016&ndash;January 22, 2017<br /></span><span style="font-family: helvetica; font-size: small;">Opening:&nbsp;</span><span style="font-family: helvetica; font-size: small;">November 18, 6&ndash;8pm</span></p> </td> </tr> </tbody> </table> </td> <!-- Image --> <td style="border: 2px; border-style: dotted dotted dotted dotted; border-color: #b2b2b2; padding: 10px;" width="300"> <p style="text-align: center;"><span style="font-family: helvetica; font-size: small;">&nbsp;<a href="http://www.artslant.com/ew/events/show/427429-solo-exhibition" target="_blank"><img title="" src="http://dbprng00ikc2j.cloudfront.net/work/image/1006273/qg7swq/20160905185824-Avery-Singer-Untitled-2015_02-e1449938097990-573x408.jpg" alt="" /></a></span></p> <!-- Caption --> <p style="text-align: center;"><span style="font-family: helvetica; font-size: x-small;">Avery Singer, <em>Untitled</em>, 2015, acryl on canvas, 40 x 60 x 4 cm. &copy; Courtesy the artist and Kraupa-Tuskany Zeidler, Berlin. Photo: Thomas Mueller</span></p> </td> </tr> <!-- New Exhibition --> <tr><!-- Exhibition info --> <td style="border: 2px; border-style: dotted dotted dotted dotted; border-color: #b2b2b2; padding: 10px;" width="300"> <p><strong style="font-size: x-large;"><span style="font-family: helvetica;"><a style="text-decoration: none; color: #00cfa6;" href="http://www.artslant.com/cn/events/show/427520-parcours" target="_blank">Zeng Fanzhi, <em>Parcours</em></a></span></strong></p> <p><span style="font-size: small;"><strong><span style="font-family: helvetica;"><a style="text-decoration: none; color: #00cfa6;" href="http://www.artslant.com/cn/venues/show/10317-ullens-center-for-contemporary-art" target="_blank">Ullens Center for Contemporary Art</a></span></strong></span><br /><span style="font-family: helvetica; font-size: small;">798 Art District, No.4 Jiuxianqiao Lu <br />Chaoyang District<br /> 100015 Beijing<br /></span></p> <p>&nbsp;</p> <!-- Opening dates --> <table style="vertical-align: baseline; padding: 10px; border: 2px; border-style: dotted none none none;"> <tbody> <tr> <td> <p><span style="font-family: helvetica; font-size: medium;">&nbsp;</span></p> <p style="text-align: left;"><span style="font-family: helvetica; font-size: small;">September 19&ndash;November 19</span></p> </td> </tr> </tbody> </table> </td> <!-- Image --> <td style="border: 2px; border-style: dotted dotted dotted dotted; border-color: #b2b2b2; padding: 10px;" width="300"> <p style="text-align: center;"><span style="font-family: helvetica; font-size: small;">&nbsp;<a href="http://www.artslant.com/cn/events/show/427520-parcours" target="_blank"><img title="" src="http://dbprng00ikc2j.cloudfront.net/work/image/1006415/qg7swq/20160906172021-_-ZENG-FANZHI-Untitled-400x700cmin-3-panels-oil-on-canvas-201511.jpg" alt="" /></a></span></p> <!-- Caption --> <p style="text-align: center;"><span style="font-family: helvetica; font-size: x-small;">Zeng Fanzhi, <em>Blue (detail)</em>, 2015, oil on canvas, 400 x 700 cm &copy; Zeng Fanzhi Studio</span></p> </td> </tr> <!-- New Exhibition --></tbody> </table> Thu, 22 Sep 2016 13:00:41 +0000 http://www.artslant.com/trn/Articles/list http://www.artslant.com/trn/Articles/list Unsuspend These Animations: On Digital Bodies and Agency at the Hirshhorn <p style="line-height: 26px;"><span style="font-family: georgia, palatino; font-size: medium;">Stop me if you&rsquo;ve heard this one before. A self-conscious avatar, pair of floating lips, and President Obama walk into an art show&hellip; &nbsp;&nbsp;</span></p> <p style="line-height: 26px;"><span style="font-family: georgia, palatino; font-size: medium;">What seems like the beginning to a potentially funny joke is actually half of the nearly mirthless exhibition <em>Suspended Animation</em> at the Hirshhorn Museum. Eschewing humor as a staple of animation and postmodern critical tool, the show soberly promises to introduce the audience to six contemporary artists using computer animation to &ldquo;challenge conceptions of reality&rdquo; and &ldquo;explore...the impact of virtual worlds on tangible physical experience or the digitization of identity.&rdquo; The show achieves its aims with mixed accomplishment. The most successful works embody a useful model for alternative mental mapping and raise timely ethical concerns for the future of digital appropriation, while others contain elements that undermine their critical and exploratory relevance.&nbsp;</span><span style="font-family: georgia, palatino; font-size: medium;">What is the impact of digitized identities if they are devoid of meaningful stakes or situations that can shape how we act and think?</span></p> <p style="line-height: 26px;"><span style="font-family: georgia, palatino; font-size: medium;"><img src="http://dbprng00ikc2j.cloudfront.net/userimages/32120/1dkh/20160901091214-Agnieszka-Polska-I-Am-the-Mouth-still-1.jpg" alt="" /></span></p> <p style="line-height: 26px; text-align: center;"><span style="font-family: georgia, palatino; font-size: x-small;">Agnieszka Polska<strong>,</strong>&nbsp;Still from&nbsp;<em>I Am the Mouth</em>, 2014.&nbsp;Courtesy of ŻAK | BRANICKA, Berlin</span></p> <p style="line-height: 26px; text-align: center;"><span style="font-family: georgia, palatino; font-size: x-small;">&nbsp;</span></p> <p style="line-height: 26px;"><span style="font-family: georgia, palatino; font-size: medium;">We begin in a black box. A darkened narrow room hugs us closer to a large projection of disembodied lips. In Agnieszka Polska&rsquo;s <em>I Am the Mouth</em> (2014), a mouth&mdash;superimposed over an undulating body of water&mdash;recites excerpts from a scientific text on sound waves, speaking with hypnotic cadences. She attempts to understand her essence (as an artwork) and (digital) impact on the (physical) world. Because the animated mouth possesses neither real agency nor consciousness, the reflection feels Descartes-lite&mdash;or rather, like simulated Cartesian thought in order to appear self-aware. The work is engaging less for its self-referential quasi-essentialism and more for its aesthetic virtues: with its haunting rhythmic speech, tranquil moving water, and enticing bright colors, the video could still enrapture audiences with a reading of U.S. tax codes. It is not the animated figure that impacts the world as the monologue suggests, but rather the Autonomous Sensory Meridian Response (<a href="https://en.wikipedia.org/wiki/Autonomous_sensory_meridian_response" target="_blank">ASMR</a>)-inspired sounds her voice produces. Ironically, her visual presence is almost rendered unnecessary.</span></p> <p style="line-height: 26px;"><span style="font-family: georgia, palatino; font-size: medium;"><img src="http://dbprng00ikc2j.cloudfront.net/userimages/32120/1dkh/20160901091249-MARTEN.jpg" alt="" /></span></p> <p style="line-height: 26px; text-align: center;"><span style="font-family: georgia, palatino; font-size: x-small;">Helen Marten,&nbsp;Still from&nbsp;<em>Orchids, or a Hemispherical Bottom</em>, 2013.&nbsp;<br />Courtesy of the artist; Sadie Coles HQ, London; Greene Naftali, New York; Johann Koenig, Berlin; and T293, Rome/Naples</span></p> <p style="line-height: 26px; text-align: center;"><span style="font-family: georgia, palatino; font-size: x-small;">&nbsp;</span></p> <p style="line-height: 26px;"><span style="font-family: georgia, palatino; font-size: medium;">This cannot be said of the video in the adjoining room. Undoubtedly, some people will roll their eyes or pull their hair when watching Helen Marten&rsquo;s <em>Orchids, or a Hemispherical Bottom</em> (2013). Some will shrug at the floating cat, classical art buttocks, or origami toad, and shortly move on. The Surrealist video progresses for nearly 20 minutes through an array of digitally created objects while a narrator tangentially rambles on a variety of topics (sensuality, heroism, cat food, etc). Such seeming incoherence is frustrating until you realize the work offers a model for reorienting our preconceptions of how we build connections in our lives among things we encounter. The collage-like process, aided by the ability to digitally create and transform any object in ways that may not be physically possible, is not dissimilar to Haruki Murakami&rsquo;s writing process, which the author described in <a href="http://www.theparisreview.org/interviews/2/the-art-of-fiction-no-182-haruki-murakami" target="_blank">a <em>Paris Review</em> interview</a>:&nbsp;&ldquo;I get some images and I connect one piece to another. That&rsquo;s the storyline.&rdquo;&nbsp;The result is an atypical way of thinking that may expand how you make sense of your own experiences.&nbsp;</span><span style="font-family: georgia, palatino; font-size: medium;">Paying attention to the loose associations created by an uninhibited stream-of-consciousness may break up habitual thought, and make us more receptive to creative, non-instrumental thinking and problem-solving.&nbsp;</span><span style="font-family: georgia, palatino; font-size: medium;">With all of this in mind, Marten&rsquo;s work still tries the viewer&rsquo;s patience. The longer it advances through incoherence, the more viewer confidence in a payoff may wane. But ultimately, viewers should see the specific details of the video as less important than the process, which offers an alternative model for mental mapping.</span></p> <p style="line-height: 26px;"><span style="font-family: georgia, palatino; font-size: medium;"><img src="http://dbprng00ikc2j.cloudfront.net/userimages/32120/1dkh/20160901091354-Ed-Atkins-Warm_-warm-Spring-Mouths-still-1.jpg" alt="" /></span></p> <p style="line-height: 26px; text-align: center;"><span style="font-family: georgia, palatino; font-size: x-small;">Ed Atkins,&nbsp;Still from&nbsp;<em>Warm, Warm, Warm Spring Mouths</em>, 2013.&nbsp;<br />Courtesy of the artist; Cabinet, London; Gavin Brown&rsquo;s enterprise, New York; Isabella Bortolozzi Galerie, Berlin; and D&eacute;pendance, Brussels</span></p> <p style="line-height: 26px; text-align: center;"><span style="font-family: georgia, palatino; font-size: x-small;">&nbsp;</span></p> <p style="line-height: 26px;"><span style="font-family: georgia, palatino; font-size: medium;">Speaking of mental, <a href="http://www.artslant.com/global/artists/rackroom/177446-ed-atkins" target="_blank">Ed Atkins</a>&rsquo; <em>Warm, Warm, Warm Spring Mouths</em> (2013) feels like being trapped inside someone&rsquo;s head. An isolated figure seated in a fluid room compulsively repeats Gilbert Sorrentino&rsquo;s poem &ldquo;The Morning Roundup,&rdquo; fusing wistful memory and defiance. The artist used motion-capture technology to create this avatar-ish protagonist whose meta-winking reminiscence of lost friends and sunnier days borders on the uncanny. We know the character is merely a fabrication, but we can&rsquo;t help but empathize with his very real, human pain. Occasional text and voice-over narration excursively speculate on the nature of this human digital copy (&ldquo;A compromised surrogate for REAL fucking experience&rdquo;). </span></p> <p style="line-height: 26px;"><span style="font-family: georgia, palatino; font-size: medium;">We would be ready to accept the figure as having an existence of his own (though in a virtual world) if he had a modicum of agency. But he doesn&rsquo;t. His existence is scripted, doomed to repeat his obsession for however long the video file that contains him is cycled through the museum projector. His value as an alter-identity is metaphorical only and limited by his closed circuit.&nbsp;Artists and programmers like <a href="http://www.artslant.com/global/artists/rackroom/210039-angela-washko" target="_blank">Angela Washko</a> and Zo&euml; Quinn have used animated avatars, communicating within animation and gaming platforms to challenge and influence those communities&rsquo; perceptions on issues such as feminism, race, sexuality, and mental health. Perhaps one day, people will use motion-capture technology, like Atkins, to create virtual identities and interact meaningfully with each other in a virtual world to create a positive, tolerant space for those identities in the non-virtual one. Until then, the artifice is merely entertaining and perhaps modestly therapeutic.</span></p> <p style="line-height: 26px;"><span style="font-family: georgia, palatino; font-size: medium;"><img src="http://dbprng00ikc2j.cloudfront.net/userimages/32120/1dkh/20160901091434-Antoine-Catala-The-Pleasure-of-Being-Sad-1.jpg" alt="" /></span></p> <p style="line-height: 26px; text-align: center;"><span style="font-family: georgia, palatino; font-size: x-small;">Antoine Catala<strong>,</strong>&nbsp;Installation view of&nbsp;<em>The Pleasure of Being Sad</em>, 2016, in&nbsp;<em>Suspended Animation</em>&nbsp;at the Hirshhorn Museum and <br />Sculpture Garden, 2016.&nbsp;Photo: Cathy Carver</span></p> <p style="line-height: 26px;"><span style="font-family: georgia, palatino; font-size: medium;">&nbsp;</span></p> <p style="line-height: 26px;"><span style="font-family: georgia, palatino; font-size: medium;">Antoine Catala&rsquo;s <em>The Pleasure of Being Sad</em> (2016) wants you to cry, but serenely. Conceived as a propaganda video against a future social norm aimed at eliminating sadness, tearful models evince a rare smile through their wet faces. A panel of embossed teardrop shapes occasionally appear within the screen. The effect is meant to reinforce the concept of sadness and perhaps hint at the idea of future objects (such as a projection screen) physically embodying the affective emotional states they are transmitting. But the result is a little cheesy and entirely unnecessary. There is definitely something unsettling about watching people cry. However, the pseudo-cultural resistance that the video represents is subverted by the notion that people should look for or glean pleasure from being sad. The video becomes complicit with the hegemony&rsquo;s avoidance of pain. &nbsp;Sometimes sadness is not pleasurable at all, but can be equally valuable as being happy.</span></p> <p style="line-height: 26px;"><span style="font-family: georgia, palatino; font-size: medium;"><img src="http://dbprng00ikc2j.cloudfront.net/userimages/32120/1dkh/20160901091514-Josh-Kline-Hope-and-Change-1-with-viewers.jpg" alt="" /></span></p> <p style="line-height: 26px; text-align: center;"><span style="font-family: georgia, palatino; font-size: x-small;">Josh Kline,&nbsp;Installation view of&nbsp;<em>Patriot Acts</em>, 2015, and&nbsp;<em>Hope and Change</em>, 2015, in&nbsp;<em>Suspended Animation</em>&nbsp;at the Hirshhorn Museum and <br />Sculpture Garden, 2016.&nbsp;Photo: Cathy Carver</span></p> <p style="line-height: 26px; text-align: center;"><span style="font-family: georgia, palatino; font-size: x-small;">&nbsp;</span></p> <p style="line-height: 26px;"><span style="font-family: georgia, palatino; font-size: medium;">Have you ever felt hope and fear simultaneously?&nbsp;If not, I recommend seeing <em>Suspended Animation</em> for Josh Kline&rsquo;s work alone.&nbsp;It will startle you. <em>Hope and Change</em> (2015) stands out as one of the most ethically questionable future uses of digital technology.&nbsp;In the video, President Obama gives a speech from his 2009 inaugural address. Only this time his words foretell things to come&mdash;Republican obstructionism and the Occupy Movement&mdash;and opportunities missed, like holding accountable those responsible for the recent financial disaster. The effect of collapsing time is truly uncanny at first. To accomplish this, Kline hired a former Obama speechwriter to re-write Obama&rsquo;s inaugural speech with the clarity of hindsight. He then face-mapped Obama&rsquo;s face onto that of an impersonator delivering the speech. Save for the appearance of technical glitches from the face-mapping, minor voice variations, and the speech&rsquo;s slippage of time, the transformation is believable. &nbsp;</span></p> <p style="line-height: 26px;"><span style="font-family: georgia, palatino; font-size: medium;">And here is where technology and ethics duke it out, truly challenging our conceptions of &ldquo;reality,&rdquo; as the exhibition promises.&nbsp;Most conversations on appropriation center around ownership of content, such as college athletes&rsquo;&nbsp;<a href="http://www.sbnation.com/college-football/2014/6/9/5793556/keller-lawsuit-ncaa-settlement-money-obannon/in/4340045" target="_blank">likenesses in the NCAA video game lawsuit</a> or the Pictures Generation&rsquo;s use of copyrighted material. But there is something far more troubling at stake in Kline&rsquo;s work: truth. Because we have become accustomed to the manipulation of images via Photoshop or benign CGI stand-ins for actors, we often forget that attacks on facts can have significant consequences. Just look at the impact on perceptions and policies that the American far right&rsquo;s willful disdain for facts has created. Sure, we may be able to identify a doctored document now, but it is not hard to imagine face-mapping technology becoming more accurate and flawless.&nbsp;Will advanced uses of such technology create false representations of others, of <em>you</em>?&nbsp;Suddenly entered into the world as historical documents are videos of you saying or doing reprehensible, humiliating, or illegal things. More than a simple photograph&rsquo;s visual likeness, the video would also replicate your gestures and speech patterns. How would such digital appropriations of people&rsquo;s likeness impact our judicial system, where video evidence is often proffered as proof of innocence or guilt? We&rsquo;d like to believe that traces of video manipulation would be detectable by authorities, but what if technology gets to the point where such manipulation is seamless? This is truly scary.&nbsp;It does not seem that <em>Hope and Change</em> was meant to raise such frightening potential problems, but it does. And it is Kline&rsquo;s marrying of face-mapping technology with an accomplished impersonator while willfully distorting historical facts that heralds this potential maelstrom.</span></p> <p style="line-height: 26px; text-align: center;"><img src="http://dbprng00ikc2j.cloudfront.net/userimages/32120/1dkh/20160901091850-cheng_4.jpg" alt="" /><span style="font-size: x-small;"><span style="font-family: georgia, palatino;">Ian Cheng,&nbsp;Still from&nbsp;<em>Emissary in the Squat of Gods</em></span><span style="font-family: georgia, palatino;">, 2015</span><span style="font-family: georgia, palatino;">.&nbsp;Courtesy of the artist and Pilar Corrias, London</span></span></p> <p style="line-height: 26px; text-align: center;"><span style="font-size: x-small;"><span style="font-family: georgia, palatino;">&nbsp;</span></span></p> <p style="line-height: 26px;"><span style="font-family: georgia, palatino; font-size: medium;"><em>Suspended Animation</em> ends with Ian Cheng&rsquo;s <em>Emissary in the Squat of Gods</em> (2015), a live simulation whose premise and potential exceed the result.&nbsp;Cheng programmed &ldquo;characters with basic behaviors within a virtual ecosystem&rdquo; to influence each other without pre-scripted directions.&nbsp;It is a sci-art examination of the development of consciousness. In theory, these characters can utilize agency with budding intent to shape their environment. In reality, the characters repeat rudimentary actions akin to rituals and tasks. No matter what they do, any expression of agency is artificial since they were given &ldquo;basic behaviors&rdquo; and environmental limitations that will inevitably shape what they do. Some cognitive scientists would argue that human beings are born with inevitable behavioral characteristics (some of which are genetically unique and others which are shared by all human beings) just as these virtual characters are &ldquo;born&rdquo; with certain traits. However, the programmed virtual world these characters live in and the range of possible actions within it are far more limited.&nbsp;The metaphorical resonance is not even close. Cheng should continue to pursue his work.&nbsp;As it gains greater complexity the more interesting and relatable it will become. But for now, it is in its infancy.</span><span style="font-family: georgia, palatino; font-size: medium;">&nbsp;</span></p> <p style="line-height: 26px;"><span style="font-family: georgia, palatino; font-size: medium;"><em>Suspended Animation</em> introduces audiences to a short variety of artful uses of computer animation. But many of the works undercut their concepts or rely too heavily on a metaphor of agency as a substitution for real agency.&nbsp;In an interview, curator Gianni Jetzer claims &ldquo;the strength of this show&rdquo; is in how bodies are represented digitally. I disagree. Digital representations devolve into mere entertainment without consequence if they lack meaningful stakes or situations that can influence how we think and act. All of the work in the show is entertaining on some level, but fortunately Marten and Kline offer two examples of computer animation that can directly impact our lives&mdash;one cognitively, the other ethically. Now armed with this knowledge, the question is: what do we do?</span></p> <p style="line-height: 26px;"><span style="font-family: georgia, palatino; font-size: medium;">&nbsp;</span></p> <p style="line-height: 26px;"><span style="font-family: georgia, palatino; font-size: medium;">&mdash;<a href="http://www.artslant.com/global/artists/show/357421-art-vidrine?tab=REVIEWS" target="_blank">Art Vidrine</a></span></p> <p style="line-height: 26px;"><span style="font-family: georgia, palatino; font-size: medium;"><em>Art Vidrine is a D.C.-based artist and writer whose work primarily focuses on issues of abstraction, perception, and agency.</em></span></p> <p style="line-height: 26px;"><span style="font-family: georgia, palatino; font-size: medium;">&nbsp;</span></p> <p style="line-height: 26px;"><span style="font-family: georgia, palatino; font-size: x-small;">(Image at top: Josh Kline, Still from&nbsp;<em>Hope and Change</em>, 2015.&nbsp;Courtesy of the artist; 47 Canal, New York; and Candace Barasch)</span></p> Thu, 15 Sep 2016 18:59:58 +0000 http://www.artslant.com/trn/Articles/list http://www.artslant.com/trn/Articles/list Shown After 35 Years, Steve Kahn's Mysterious Photo-Constructs Are a Revelation in Abstraction <p style="line-height: 26px;"><span style="font-family: georgia, palatino; font-size: medium;">If I were to ask you to tell me about an artist who worked within the architecture of rundown lodgings in Los Angeles in the 1970s, you might come back to me with a famous man who has spoken about his time working in the Mendota Hotel: James Turrell. If I were to ask you to guess again, you might shrug your shoulders and tell me how bored of my game you are. &ldquo;Oh,&rdquo; I would say with a lilt in my voice and a spark in my eye, fueled by your disinterest, &ldquo;oh what you don&rsquo;t yet know!&rdquo;</span></p> <p style="line-height: 26px;"><span style="font-family: georgia, palatino; font-size: medium;">Steve Kahn doesn&rsquo;t have room-quieting Turrellian recognition because after widely showing his mural triptychs, hotel images, and photographs of nude women&mdash;known collectively as <em>The Hollywood Suites</em>&mdash;as the &lsquo;70s became the &lsquo;80s, he stashed away his art and set off for New York to pursue commercial work, leaving behind his intricate studies of photographic media. Perhaps his techniques were too radical for a time when photography was considered less a contemporary art form and more a method of documentation. In the same years that Robert Mapplethorpe was being derided for displaying Polaroids (how <em>pedestrian!</em>) in a gallery in New York, Kahn was taking photographs of his own Polaroids and using the negatives to make large-scale silver gelatin mural prints known as murals (how <em>absurd!</em>). Yet despite any groans that may have come from looking at abstract photographs, these works must have been as revolutionary as they were challenging at the time of initial presentation.</span></p> <p style="line-height: 26px;"><img style="font-family: georgia, palatino; font-size: medium;" src="http://dbprng00ikc2j.cloudfront.net/userimages/32120/1dkh/20160824154713-casemore_kirkeby_steve_kahn_2016_installation_15.jpg" alt="" /><span style="font-family: georgia, palatino; font-size: medium;"><br /></span></p> <p style="line-height: 26px; text-align: center;"><span style="font-family: georgia, palatino; font-size: x-small;">Steve Kahn,&nbsp;<em>Mural Triptychs and Door/Window Constructions</em>, 2016, Installation view at Casemore Kirkeby</span></p> <p style="line-height: 26px; text-align: center;"><span style="font-family: georgia, palatino; font-size: x-small;">&nbsp;</span></p> <p style="line-height: 26px;"><span style="font-family: georgia, palatino; font-size: medium;">Kahn&rsquo;s work is exemplary of a kind of abstraction rarely created anymore, wherein deep exploration of form leads to the re-creation of the familiar, and through that breakdown we overturn that which we considered to be true. It is all too common&mdash;and I do mean <em>all too common</em>&mdash;to walk into a contemporary gallery and find a few screws resting atop a piece of plywood, a cord wrapped in a loose circle dropped nearby, and a piece of painted (if we are lucky) aluminum coming out of the wall&hellip; somewhere&hellip; and to be expected to cock our heads, sigh contemplatively, and pull at nonexistent threads in an attempt to understand the artist. Without an entry point this form of abstraction is reductive <em>enfin</em>, if not insulting.</span></p> <p style="line-height: 26px;"><span style="font-family: georgia, palatino; font-size: medium;"><img src="http://dbprng00ikc2j.cloudfront.net/userimages/32120/1dkh/20160824154417-casemore_kirkeby_steve_kahn_2016_installation_12.jpg" alt="" /></span></p> <p style="line-height: 26px; text-align: center;"><span style="font-family: georgia, palatino; font-size: x-small;">Steve Kahn, <em>Triptych #10</em>, 1976, Selenium toned gelatin silver prints mounted on 3 aluminum panels
36 x 144 inches, 
Unique vintage work</span></p> <p style="line-height: 26px; text-align: center;"><span style="font-family: georgia, palatino; font-size: medium; text-align: left;">&nbsp;</span></p> <p style="line-height: 26px;"><span style="font-family: georgia, palatino; font-size: medium;">Looking at Kahn&rsquo;s horizontal mural <em>Triptych #10</em> is as bizarre as it is exciting, familiar, and impossible. The initial sense is easy enough&mdash;three photographs composing a quadrant of a room with four walls that meet to form three corners. Based on the lighting as it stretches along the walls, toward shadows that impossibly fall as if receding into a black hole, those corners can&rsquo;t exist, can they? </span></p> <p style="line-height: 26px;"><span style="font-family: georgia, palatino; font-size: medium;">When we turn to <em>Triptych #5 </em>we find another stretch of floor meeting wall and ceiling that only makes sense if we give into the fantasy of architecture created by placing these three images in a vertical column. Viewed in isolation, without context, the floor is mirrored blackness stopped by two unresolved white lines, the center cutout of what we choose to believe is two walls meeting becomes a field of shifting grays with a faint line that misses perfectly centered bisection, and the ceiling could easily be a graphite drawing of a cube projecting outward. They are images of nothing stitched together to make us believe we are standing in a room, Polaroid camera in hand, deciding what elements draw our attention. That they are titled <em>Triptychs </em>and not <em>Room 236</em> or <em>Fantasy Architecture I&rsquo;d Like to Create One Day</em> lets the reality behind the images breathe even more deeply and the impossible expand through imagination.</span></p> <p style="line-height: 26px;"><span style="font-family: georgia, palatino; font-size: medium;"><img src="http://dbprng00ikc2j.cloudfront.net/userimages/32120/1dkh/20160824154442-bound_door_7.jpg" alt="" /></span></p> <p style="line-height: 26px; text-align: center;"><span style="font-family: georgia, palatino; font-size: x-small;">Steve Kahn, <em>Bound Door #7</em>, from <em>The Hollywood Suites</em>, 1976, Vintage gelatin silver print, 16 x 20 inches</span></p> <p style="line-height: 26px; text-align: center;"><span style="font-family: georgia, palatino; font-size: x-small;">&nbsp;</span></p> <p style="line-height: 26px;"><span style="font-family: georgia, palatino; font-size: medium;">When we are presented with an image of the room as room, we see the artist exert control through acts of bondage. In the pentagrammic tying of an open doorway with white rope that hangs in stark relief to the perfect black of a room beyond, <em>Bound Door #7</em> runs daringly close to the Satanic. Similarly the black tendrils that latch onto the walls in <em>Bound Door #6</em> give the impression that something deep within that void is pulling the ropes into taught triangles; pulling until they snap. Ritual is a driving force behind the bound door works, while the documentation of windows and mirrors feels as if we are witnessing the altogether forbidden.</span></p> <p style="line-height: 26px;"><span style="font-family: georgia, palatino; font-size: medium;">Kahn&rsquo;s photographic legacy is breathtaking. That the murals are original silver gelatin prints is all the more shocking (a note I confirmed with director Julie Casemore more than once out of disbelief)&mdash;stored in crates for decades, unearthed for this first time in their entirety as pristine as the day they were created. Exploration in medium created a chilling grain structure reminiscent of <em>Nosferatu </em>while the absence of a figure leaves us trapped within false architecture; prisoners of the construct of his creation. In viewing these images, we are asked to be active partners in an exchange. We finish their creation as much as Kahn began them. His is a rare example of formal conceit leading, not by the hand but by way of one&rsquo;s own intrigue, down the unexplored or forgotten corridors of the mind.</span></p> <p style="line-height: 26px;"><span style="font-family: georgia, palatino; font-size: medium;">&nbsp;</span></p> <p style="line-height: 26px;"><span style="font-family: georgia, palatino; font-size: medium;">&mdash;<a href="http://www.artslant.com/global/artists/show/260184-peter-cochrane" target="_blank">Peter Cochrane</a></span></p> <p style="line-height: 26px;"><span style="font-family: georgia, palatino; font-size: medium;"><em>Peter Cochrane is a San Francisco-based artist and author.</em></span></p> <p style="line-height: 26px;"><span style="font-family: georgia, palatino; font-size: medium;">&nbsp;</span></p> <p style="line-height: 26px;"><span style="font-family: georgia, palatino; font-size: x-small;">(Image at top: Steve Kahn, <em>Mural Triptychs and Door/Window Constructions</em>, Installation view at Casemore Kirkeby. All images: Courtesy of the artist and Casemore Kirkeby, San Francisco.)</span></p> Fri, 26 Aug 2016 17:28:18 +0000 http://www.artslant.com/trn/Articles/list http://www.artslant.com/trn/Articles/list Can Art Respond Authentically to the Refugee Crisis? A Critical Overview from Greece <p class="normal" style="line-height: 26px;"><span style="font-family: georgia, palatino; font-size: medium;"><strong><span style="font-size: large;">The case of Ai Weiwei</span><br /></strong><strong>(Through haunting images...)</strong></span></p> <p class="normal" style="line-height: 26px;"><span style="font-family: georgia, palatino; font-size: medium;">Last February 14,000 used orange life jackets were wrapped around the columns of the Konzerthaus in Berlin, turning the 19th century landmark into an eerie reminder of the ongoing plight of refugees. According to the International Organization for Migration, during the first six months of 2016 more than 3,000 people were drowned <a href="http://www.cnn.gr/news/kosmos/story/39936/diethnis-organismos-metanasteysis-3-000-metanastes-kai-prosfyges-pnigikan-to-2015" target="_blank">crossing the Mediterranean Sea</a>. At the same time nearly 250,000 people arrived in Europe.&nbsp;</span><span style="font-family: georgia, palatino; font-size: medium;">Produced by the renowned Chinese visual artist Ai Weiwei, t</span><span style="font-family: georgia, palatino; font-size: medium;">his may well have been the most pertinent artistic intervention addressing the refugee crisis. Locating his work in the heart of Europe, timing it to the highly publicized 66th Berlinale International Film Festival, he had every TV channel, newspaper, magazine, and website covering his installation.</span></p> <p class="normal" style="line-height: 26px;"><span style="font-family: georgia, palatino; font-size: medium;">On the same occasion, during a Cinema for Peace fundraiser, where he served as honorary president, Ai asked his high-profile guests to wear emergency thermal blankets, donate similar items to refugees, and also take some selfies, an idea which generated&nbsp;<a href="https://www.theguardian.com/world/2016/feb/16/celebrities-don-emergency-blankets-at-berlin-fundraiser-for-refugees" target="_blank">provocative, controversial images</a>. A few weeks earlier, he had visited the island of Lesbos, one of the main points of entry for refugees and immigrants who cross the Aegean Sea in their passage from Turkey to Greece. His visit was fully covered by the Greek media creating mixed feelings, ranging from outrage to indifference, about the extent to which the dissident art star&rsquo;s presence would be of any help to the worn out refugees or poor islanders.</span></p> <p class="normal" style="line-height: 26px;"><span style="font-family: georgia, palatino; font-size: medium;"><img src="http://dbprng00ikc2j.cloudfront.net/userimages/32120/1dkh/20160823133205-24656019199_159534eb40_k.jpg" alt="" /></span></p> <p class="normal" style="line-height: 26px; text-align: center;"><span style="font-family: georgia, palatino; font-size: x-small;">Ai Weiwei's life vest installation outside Konzerthaus in Berlin, February 2016. Photo via Flickr user <a href="https://www.flickr.com/photos/mompl/24656019199/in/photolist-E5VKF9-DyLxvi-EkBf2L-DaRaqG-D3AuGf-CfDHz1-D5SWwr-CfDDd5-CfDMu5-DaRbE5-CZouEC-CU3vDN-D823Ge-CnEcKx-BYLRcX-BYDDmN-CWax7V-CWaqPV-CnEdvR-CWaxgH-CTRH1w-Cu3yju-CTRGSW-CNSu4n-BYLT2P-Cu3wNo-BYLSn2-CWazek-Cu3ySd-BGtyNe-CtVBtu-CtVBQw-BYDVKi-CnxhFD-BYwFsq-CLuGaJ-CNKjEX-CtVAd3-Cnxjzt-BYwFEQ-BYwEMs-Cnxgg4-CW3xvV-CTJJKs-CW3zFB-BYDX52-BYDWp4-BYwGMQ-CtVBDQ-BYwuVJ/" target="_blank">mompl</a></span></p> <p class="normal" style="line-height: 26px;"><span style="font-family: georgia, palatino; font-size: medium;">&nbsp;</span></p> <p class="normal" style="line-height: 26px;"><span style="font-family: georgia, palatino; font-size: medium;">No doubt, the re-creation of the three-year-old Syrian <a href="http://time.com/4162306/alan-kurdi-syria-drowned-boy-refugee-crisis/" target="_blank">Alan Kurdi</a>&rsquo;s tragic photo did not make things better for Ai&rsquo;s social outreach. The image of the infant&rsquo;s lifeless body washed up near Bodrum, in Turkey, had become an icon for refugees&rsquo; suffering, shocking the world and pointing to crimes justified by EU policies denying safe passage to ravaged refugees; even in Greece, largely considered a receptive EU country, an enormous boder fence has been erected in the Evros region. </span></p> <p class="normal" style="line-height: 26px;"><span style="font-family: georgia, palatino; font-size: medium;">In the midst of this tragedy, Ai Weiwei published a picture of himself lying on a Lesbos beach in a pose similar to that of the drowned boy. His gesture of appropriation sparked <a href="http://observer.com/2016/02/photo-of-ai-weiwei-aping-drowned-refugee-toddler-draws-praise-ire/" target="_blank">fierce reactions</a> from people accusing him of making a parody of Alan&rsquo;s death in a frenzy of opportunism and egotism. Social media overflowed with scathing comments, and many accused the Chinese artist of blatantly <a href="https://www.theguardian.com/artanddesign/2016/jan/01/ai-weiwei-sets-up-studio-on-greek-island-of-lesbos-to-highlight-plight-of-refugees#comments" target="_blank">cashing in on refugees&rsquo; devastation</a>. The dispute over the moral aspect of art engaged with the refugee crisis had reached its peak.</span></p> <p class="normal" style="line-height: 26px;"><span style="font-family: georgia, palatino; font-size: medium;">Ethical concerns are often regarded as irrelevant&mdash;or even unworthy&mdash;to the noble task of art criticism. This essay takes as its underlying assumption that arts practices <em>should</em> be examined and discussed across multiple registers, be they aesthetic or formal; historical, contextual, or cultural; or, in the case of the present analysis, ethical and political. How are artists, curators, and institutions handling the refugee crisis as it arrives at Greek shores? Are there limits to their value and efficacy? Might new models for engagement emerge from this crisis?</span></p> <p class="normal" style="line-height: 26px;"><span style="font-family: georgia, palatino; font-size: medium;">&nbsp;</span></p> <p class="normal" style="line-height: 26px;"><span style="font-family: georgia, palatino; font-size: medium;"><strong><span style="font-size: large;">Documenta and the Athens Biennale</span><br /></strong></span><strong style="font-family: georgia, palatino; font-size: medium;">(Perhaps we could learn...)</strong></p> <p class="normal" style="line-height: 26px;"><span style="font-family: georgia, palatino; font-size: medium;">The case of Ai Weiwei was not the first incident that brought Greece into the spotlight of international art discourse in recent years. His artistic response to the challenges facing refugees and the Greek nation, as well as some of the critical refrains he&rsquo;s faced, are predated by <a href="http://www.artslant.com/ew/articles/show/43422" target="_blank">similar grappling from prominent arts institutions</a>.</span></p> <p class="normal" style="line-height: 26px;"><span style="font-family: georgia, palatino; font-size: medium;">In October 2014, the team of <a href="http://www.documenta14.de/en/" target="_blank">Documenta</a> announced the overarching themes and the location of its 2017 edition at the symposium &ldquo;documenta 14, Kassel: Learning from Athens,&rdquo; held at the Academy of Fine Arts in Kassel. The new structure introduced an interesting shift of roles since Documenta would no longer be (just) the host for international art in Kassel, but it would also act as a guest in Athens. <ins cite="mailto:Andrea%20Alessi" datetime="2016-08-15T17:14"></ins></span></p> <p class="normal" style="line-height: 26px;"><span style="font-family: georgia, palatino; font-size: medium;">Artistic Director Adam Szymczyk explained this decision, arguing that the ongoing political, financial, and social turmoil registered in this specific geopolitical territory is something which must be re-examined by artists, curators, and visitors alike. In <a href="http://www.documenta14.de/files/Press%20release_6%20October%202014.pdf" target="_blank">his own words</a>, </span></p> <blockquote> <p class="normal" style="line-height: 26px; padding-left: 30px;"><span style="font-family: georgia, palatino; font-size: medium;">If Athens exemplifies the current issues that extend beyond the proverbial notion of the &ldquo;Greek Crisis,&rdquo; these problems&mdash;which are as much European and global as they are Greek&mdash;remain unresolved. Yet they present us with an opportunity to open up a space of imagination, thinking, and action&hellip;</span></p> </blockquote> <p class="normal" style="line-height: 26px;"><span style="font-family: georgia, palatino; font-size: medium;">In an attempt to forestall critique, Szymczyk rushed to stress the equal position that the two locations will hold, highlighting the dynamic between them and focusing on the mutual exchange of knowledge and cultural production Documenta aims to foster. Leading up to the openings in April 2017 (Athens) and June 2017 (Kassel) is a three-year working period delineated as an ongoing process of learning, involving local communities and cultural producers in both locations.</span></p> <p class="normal" style="line-height: 26px;"><span style="font-family: georgia, palatino; font-size: medium;">From the start, Documenta acknowledges the tension between the North and the South, so prevalent in the political and economic arena, proposing a twist of this proverbial status quo: artists and art collectives will be asked to suggest artworks for both venues, taking into account the respective conditions and stereotypes of the socio-political realities experienced first-hand. This tricky engagement of a well-established opposition could easily relapse into a blunt corroboration of the binary model &ldquo;Rich North versus Poor South,&rdquo; enhancing the very concept it strives to counteract. Surely, the elimination of such perilous slips is a hard task when an art show&mdash;especially of the scale and influence of Documenta&mdash;ventures to intervene in the shifting realities of the current state of (not only Greek but definitely European and perhaps global) crisis.</span></p> <p class="normal" style="line-height: 26px;"><span style="font-family: georgia, palatino; font-size: medium;">&ldquo;Art tourism&rdquo; or long-term commitment? Appropriation or a unique chance for an under-recognized art scene to attain visibility? Institutional marketing strategy?&mdash;the coming months will tell. For now, local artists who have not been in contact with the Athens curatorial team maintain a sceptical stance. Despite their strong interest in the pressing issues of crisis and refugee flows, many artists and curators avoid straightforward references, instead approaching the subjects in a metaphorical or abstract manner. See for instance the forthcoming <a href="http://www.greekstatemuseum.com/kmst/pressroom/article/1149.html" target="_blank">Thessaloniki Biennale</a> (September 2017) which has just announced &ldquo;Home&rdquo; as its central concept, or the&nbsp;Action Field Kodra visual arts festival (of which this author was formerly co-curator), titled &ldquo;Error&rdquo; in June 2015, as the debt crisis, the referendum, and the subsequent<ins cite="mailto:Andrea%20Alessi" datetime="2016-08-16T15:06"> </ins>capital controls stunned the country (and the rest of Europe).</span></p> <table width="400" align="right"> <tbody> <tr> <td style="padding: 10px;"> <p style="font-family: georgia, palatino; font-size: large; color: #1f1f1f;"><span style="font-size: x-large;"><em>The question of who is telling the story in the name of whom emerges as the core issue at stake.<br /></em></span></p> </td> </tr> </tbody> </table> <p class="normal" style="line-height: 26px;"><span style="font-family: georgia, palatino; font-size: medium;">Another major player in this conversation is the ten-year-old&nbsp;<a href="http://athensbiennale.org/en/" target="_blank">Athens Biennale</a>, the leading contemporary art biennale in Greece. The curatorial team has dedicated its current edition to alternative economies&rsquo; models, calling it&nbsp;<em>OMONOIA</em>&nbsp;(concord). At the same time, the Athens Biennale attempts to question the very institution of biennales by extending its activities over a two-year period, bringing its 2015 and 2017 editions into one single project, which will reach its peak in June 2017 &ldquo;<a href="http://athensbiennale.org/en/omonoia/" target="_blank">with the opening of Documenta 14</a>.&rdquo;</span></p> <p class="normal" style="line-height: 26px;"><span style="font-family: georgia, palatino; font-size: medium;">The Athens Biennale&rsquo;s effort to involve collectives and initiatives from the socio-political field met bewilderment instead of enthusiasm, with some accusing the team of taking advantage of a community they have never been in touch before. In other words, they were criticized for using the struggles and hardships of unprivileged subjects from a privileged position.&nbsp;As such responses circulated in private conversation across the insular world of Greek arts professionals, the public at large, with bigger things to worry about, was hardly aware of the controversy&mdash;or of any of the Athens Biennale or Documenta&rsquo;s acclaimed novelties.<strong>&nbsp;</strong>Once again, the encounter between the art world and the world around it proves to be a contentious matter. The question of who is telling the story in the name of whom emerges as the core issue at stake.</span></p> <p class="normal" style="line-height: 26px;"><span style="font-family: georgia, palatino; font-size: medium;">Miwon Kwon&rsquo;s <a href="https://books.google.nl/books?id=s8KviDnz1SwC&amp;dq=miwon+kwon+site+specificity&amp;lr=&amp;source=gbs_navlinks_s" target="_blank">critique</a> of site-specific art coupled with Hal Foster&rsquo;s examination of the famous &ldquo;<a href="https://books.google.nl/books?id=Yl9oCT0fTVQC&amp;pg=PA171&amp;dq=hal+foster+artist+as+ethnographer&amp;hl=en&amp;sa=X&amp;ved=0ahUKEwisos3gg8bOAhXEBsAKHfOODtAQ6AEIHjAA#v=onepage&amp;q=hal%20foster%20artist%20as%20ethnographer&amp;f=false" target="_blank">artist as ethnographer</a>&rdquo; paradigm, have showcased the manifold controversies of contemporary artistic practices that aspire to keep up with the feverish fluidity of the globalized world. In this already bleak context, pressing issues of our time have pushed the &ldquo;privileged versus the wretched&rdquo; paradigm into the heart of Europe in a way that is absolutely unremitting for those who follow the social and political unrest.</span></p> <p class="normal" style="line-height: 26px;"><span style="font-family: georgia, palatino; font-size: medium;">By entering this discussion, I hope to tease out those initiatives which focus on raising awareness and empowering the vulnerable subjects, instead of getting &ldquo;solidarity credits&rdquo; for their own profit. This remark should not be interpreted as a plea for activist art; giving voice to the voiceless often implies a subtle approach which grants space for their stories and treats them with respect, rather than reproducing clich&eacute; representations. No doubt, besides giving space and voice, artistic practices at times also manage to dismantle dominant rhetoric and reveal intrinsic power relations, highlighting the causes of forced displacement and its aftermath. It is precisely in these cases where aesthetic form, content, and socio-political impact finally converge and art reaches its full potential. Whether Documenta 14 and the Athens Biennale, in digging into the institutional critique toolbox, will achieve this potential remains to be seen.</span></p> <p class="normal" style="line-height: 26px;"><span style="font-family: georgia, palatino; font-size: medium;">An insightful index in this complicated analysis might be the &ldquo;talking&rdquo; subject&mdash;that is, the artist or curator&rsquo;s&mdash;position and no doubt his or her association with the actual story&rsquo;s subjects&mdash;be they refugees, victims of the economic meltdown, or any other kind of vulnerable Other. At this juncture, it seems to me that the only prerequisite one should rightfully demand, is for an artist, curator, or institution to abstain from glaring piggy-backing onto human tragedy by contributing to media overexposure and provocative imagery that could insult rather than commemorate the victims.</span></p> <p class="normal" style="line-height: 26px;"><span style="font-family: georgia, palatino; font-size: medium;">&nbsp;</span></p> <p class="normal" style="line-height: 26px; text-align: center;"><span style="font-family: georgia, palatino; font-size: medium;"><iframe src="https://www.youtube.com/embed/5B_1xDILKNw?rel=0&amp;controls=0&amp;showinfo=0" frameborder="0" width="700" height="394"></iframe></span></p> <p class="normal" style="line-height: 26px; text-align: center;"><span style="font-family: georgia, palatino; font-size: x-small;"><em>Fortress Europe</em>, 2016, Short film, Cinematographic Team of Evening High School of Kos, Directed by Sotiris Palaskas<br /></span></p> <p class="normal" style="line-height: 26px; text-align: center;"><span style="font-family: georgia, palatino; font-size: x-small;">&nbsp;</span></p> <p class="normal" style="line-height: 26px;"><span style="font-family: georgia, palatino; font-size: medium;">But, as in any complex conversation, there aren&rsquo;t always clear answers with regards to what is respectful and successful, and what is not. Personal or familial history with subject matter can enhance one&rsquo;s engagement, but an insistence on it can result in discounting artists who do not share the migrant or refugee experience. A long-term interest and commitment is a clear indication of honest intentions, but there have been respectful and affective responses to the refugee crisis from multiple distances and time periods. Close to home, there is the acclaimed <a href="https://www.youtube.com/watch?v=5B_1xDILKNw" target="_blank"><em>Fortress Europe</em></a>, an arresting short film by the Cinematography Team of the Evening High School in Kos. Further afield we find Georgia Lale&rsquo;s performance project <a href="http://lalegeorgia.net/" target="_blank">#OrangeVest</a> carried out in numerous landmarks in the United States. Be it too close or too far from the turmoil, in both cases there is proof one can make a strong statement.</span></p> <p class="normal" style="line-height: 26px;"><span style="font-family: georgia, palatino; font-size: medium;">&nbsp;</span></p> <p class="normal" style="line-height: 26px;"><span style="font-family: georgia, palatino; font-size: medium;"><strong><span style="font-size: large;">Towards a different paradigm?</span><br /></strong></span><span style="font-family: georgia, palatino; font-size: medium;"><strong>(That this is a world not ours)</strong></span></p> <p class="normal" style="line-height: 26px;"><span style="font-family: georgia, palatino; font-size: medium;">The exhibition <em><a href="http://www.schwarzfoundation.com/en/art-space-pythagorion/2016/2016.html" target="_blank">A World Not Ours</a>&nbsp;</em>opened at the start of this month in another landing point for refugees, the Greek island of Samos. Curated by the internationally celebrated Katerina Gregos and organized in Art Space Pythagorion by the Schwarz Foundation, this is probably the first largely known case of an exhibition which looks at the migrant crisis in such a clear yet multifaceted way. Balancing between the local and the global, <em>A World Not Ours</em> is also an exhibition about diaspora, identity, and the existential limbo of the displaced. Gregos introduces the exhibition thusly: <ins cite="mailto:Andrea%20Alessi" datetime="2016-08-16T15:38"></ins></span></p> <blockquote> <p class="normal" style="line-height: 26px; padding-left: 30px;"><span style="font-family: georgia, palatino; font-size: medium;">Given the highly charged location, it is vital that an art exhibition here should address this situation, which has been an unremitting reality on the island, and a pressing, unresolved issue for the whole of Europe. The exhibition focuses on the issue of the refugee crisis and forced migration by bringing together a group of artists, photographers, filmmakers and activists who offer different reactions, reflections, and analyses on the subject. Bringing together diverse practices from installation, performance, photography, film, video and photojournalism, the participants in the exhibition largely transcend one-sided and standardised media representations of the crisis (mostly consisting of rickety boats and images related to the perilous sea crossing) and look into the <em>before</em> and <em>after </em>[of] this dramatic moment.</span><span style="font-family: georgia, palatino; font-size: medium;">&nbsp;</span></p> </blockquote> <p class="normal" style="line-height: 26px;"><span style="font-family: georgia, palatino; font-size: medium;">There follows a meticulous and insightful analysis of the media coverage, the geopolitical shifts, and the finances and politics associated with the war in Syria and the forced migration of millions of people. Europe&rsquo;s role is thoroughly examined with no indulgence granted to the newly sensitized audiences.</span></p> <p class="normal" style="line-height: 26px;"><span style="font-family: georgia, palatino; font-size: medium;">&nbsp;</span></p> <p style="line-height: 26px; text-align: center;"><span style="font-family: georgia, palatino; font-size: x-small;"><iframe src="https://www.youtube.com/embed/kyMbF2uuSIw?rel=0&amp;controls=0&amp;showinfo=0" frameborder="0" width="700" height="394"></iframe>&nbsp;</span></p> <p style="line-height: 26px; text-align: center;"><span style="font-family: georgia, palatino; font-size: x-small;">Diller Scofidio + Renfro, Mark Hansen, Laura Kurgan, and Ben Rubin, in collaboration with Stewart Smith and Robert Gerard Pietrusko,&nbsp;<em>Exit</em>, 2008&ndash;2015</span></p> <p style="line-height: 26px; text-align: center;"><span style="font-family: georgia, palatino; font-size: x-small;">&nbsp;</span></p> <p style="line-height: 26px;"><span style="font-family: georgia, palatino; font-size: medium;">A central piece in the exhibition structure is an immersive video and audio installation titled <em>Exit</em>. It was created by American artists and architects Diller Scofidio + Renfro in collaboration with architect-artist Laura Kurgan, statistician-artist Mark Hansen, and media artist Ben Rubin. Based on a question by Paul Virilio&mdash;&ldquo;What is left of our native land?&rdquo;&mdash;the installation visualizes the current migration flows as well as their causes and consequences on a global scale. Informed by data from over 100 sources, <em>Exit</em> showcases huge population displacements, either for political and financial reasons or environmental ones.</span></p> <p style="line-height: 26px;"><span style="font-family: georgia, palatino; font-size: medium;">Perhaps most interesting is that a number of participating artists have themselves experienced similar traumatic events. Their practices are juxtaposed with the exploitative paradigm, which Gregos denounces from the start:</span></p> <blockquote> <p class="normal" style="line-height: 26px; padding-left: 30px;"><span style="font-family: georgia, palatino; font-size: medium;">In the contemporary art world, the refugee crisis has unfortunately engendered opportunism, with some rushing in to profess their engagement by producing facile one-liners and generating publicity for their own sake.&nbsp;This exhibition, rather, includes artists who opt for a nuanced way of working with these highly sensitive issues, who stay under the radar, working with discretion, thoughtfulness and beneficence. Many of the participants come from the Middle East or south-eastern Europe, from countries that have experienced war, trauma, exodus and perilousness first hand.</span></p> </blockquote> <p style="line-height: 26px;"><span style="font-family: georgia, palatino; font-size: medium;"><img src="http://dbprng00ikc2j.cloudfront.net/userimages/32120/1dkh/20160823131846-Behrakis_a6-2.jpg" alt="" /></span></p> <p style="line-height: 26px; text-align: center;"><span style="font-family: georgia, palatino; font-size: x-small;">Courtesy Yanni Behrakis/Reuters</span></p> <p style="line-height: 26px; text-align: center;">&nbsp;<span style="font-family: georgia, palatino; font-size: x-small;">&nbsp;</span></p> <p style="line-height: 26px;"><span style="font-family: georgia, palatino; font-size: medium;">Yannis Behrakis&rsquo; photographs offer a documentary strategy in representing the refugee crisis. A Pulitzer Prize-winning photojournalist who has worked for Reuters since 1987, Behrakis moved back to Athens in 2010 in order to cover the financial crisis, only to find out that in 2015 the migration flows would flood the Greek coastline. Striking images of high aesthetic value register world-shaking events and moments of extreme emotional tension, inciting effortless, spontaneous feelings of empathy. Behrakis&rsquo; photographs are projected on a large screen. Reflecting their intended context, newspaper headlines and printed-out webpages featuring his work are presented in an adjacent vitrine.</span></p> <p style="line-height: 26px;"><span style="font-family: georgia, palatino; font-size: medium;">Outside the exhibition space visitors find the Hungarian-Syrian artist R&oacute;za El-Hassan&rsquo;s <em>Adobe House</em>. This type of mud brick house was common in villages of northern Syria and according to the artist, the simple, high-dome &ldquo;adobe&rdquo; was also how her ancestors used to live. El-Hassan contemplates the rebuilding of Syria, proposing an elementary type of eco-architecture derived from thousands of years of local craftsmanship. For the construction of her Samos installation she used local materials and collaborated with local builders, passing on the Syrian craft to a new region and generation&mdash;speaking to the movement of knowledge that parallels the movement of bodies across the globe.</span></p> <p style="line-height: 26px;"><span style="font-family: georgia, palatino; font-size: medium;"><img src="http://dbprng00ikc2j.cloudfront.net/userimages/32120/1dkh/20160823132252-_DSC5924w.jpg" alt="" /></span></p> <p style="line-height: 26px; text-align: center;"><span style="font-family: georgia, palatino; font-size: x-small;">Ninar Esber,&nbsp;<em>Torso II</em>, 2016, Installation view of <em>A World Not Ours</em>, Schwartz Foundation. Photo:&nbsp;Panos Kokkinias</span></p> <p style="line-height: 26px; text-align: center;"><span style="font-family: georgia, palatino; font-size: x-small;">&nbsp;</span></p> <p style="line-height: 26px;"><span style="font-family: georgia, palatino; font-size: medium;">Ninar Esber, born in Beirut, shows an outsized shiny necklace in the text-based work <em>Torso II</em>; the sculpture, made of polished-brass mirror, reports the names given by US, Israeli, French, and British militaries to their operations in the Middle East since 1948: &ldquo;Infinite Justice,&rdquo; &ldquo;Grapes of Wrath,&rdquo; and &ldquo;Peace for Galilee&rdquo; are just a few examples. Playing on the stark contradiction between form, signifier, and signified, Esber highlights powerful countries&rsquo; sanguinary interventions in sensitive geographical areas and thus points to their often under-recognized share of responsibility.</span></p> <p style="line-height: 26px;"><span style="font-family: georgia, palatino; font-size: medium;">The exhibition dares to take a straightforward look and at the same time make a subtle statement about the highly sensitive issue of the refugee crisis. Other artworks illustrate family stories related to Greek refugee flows during the Asia Minor catastrophe in 1922, such as Marina Giwti&rsquo;s <em>Saint Marina</em>, or comprise interviews of present-day refugees, as in the case of work by Sallie Latch, a self-taught American artist, activist, and volunteer in Samos.&nbsp;The show thinks deeply about the optics and ethics of representing and responding artistically to trauma and crisis.&nbsp;</span><span style="font-family: georgia, palatino; font-size: medium;">And with public screenings, guided tours, and educational programs,&nbsp;</span><em style="font-family: georgia, palatino; font-size: medium;">A World Not Ours</em><span style="font-family: georgia, palatino; font-size: medium;">&nbsp;makes it clear that it means to become a part of locals&rsquo; everyday life.&nbsp;</span><span style="font-family: georgia, palatino; font-size: medium;">Nevertheless, it is unable to answer whether it is those islanders on Samos who need to be engaged, policy makers in Brussels and across Europe, or the eyeballs of social media users around the world.</span></p> <p style="line-height: 26px; text-align: center;"><span style="font-family: georgia, palatino; font-size: medium;">⁂&nbsp;</span></p> <p style="line-height: 26px;"><span style="font-family: georgia, palatino; font-size: medium;">In this essay I have outlined prominent artworks and exhibitions on the refugee and political crises in Greece in order to open up some space for discussion, while omitting exploitative visual representations (e.g., Ai Weiwei as a dead child or Charlize Theron donning an emergency blanket). These examples can hopefully help us formulate and better understand some criteria of artistic, social, and political evaluation for artistic and curatorial practices developed in this growing corner of the art world. As the problem persists, viewpoints and positions shift: solidarity rises among common people who are fully aware that their own ancestors may have come from far away fleeing some untold calamity; at the same time, far right xenophobic rhetoric seeks to exploit fears and tensions intensified by crisis. </span></p> <p style="line-height: 26px;"><span style="font-family: georgia, palatino; font-size: medium;">In such circumstances, it no doubt takes a great deal of sensitivity, modesty, and self-reflection to touch upon human tragedy without leaving yet another terrible imprint on it. And while many artists and cultural practitioners genuinely strive to come to grips with harsh reality, some can only make an aesthetics of horror from it. Art is unlikely to change the world, but it can definitely reflect our ideals of making it a more humane place to live in. Instead of drawing conclusions about a phenomenon that is very much ongoing and evolving, I quote here the final lines from an episode of <a href="https://thejuicemedia.com/season-4/">Juice Rap News</a>:</span></p> <blockquote> <p style="line-height: 26px; padding-left: 60px;"><span style="font-family: georgia, palatino; font-size: medium;">&ldquo;Some day, historians will look back and<br /></span><span style="font-family: georgia, palatino; font-size: medium;">label this<br /></span><span style="font-family: georgia, palatino; font-size: medium;">The age of mass displacements, and<br /></span><span style="font-family: georgia, palatino; font-size: medium;">assess how we handled it.<br /></span><span style="font-family: georgia, palatino; font-size: medium;">Will they condemn our blindness;<br /></span><span style="font-family: georgia, palatino; font-size: medium;">or celebrate our vision and humanity?<br /></span><span style="font-family: georgia, palatino; font-size: medium;">That&rsquo;s up to us in the present, where<br /></span><span style="font-family: georgia, palatino; font-size: medium;">History is Happening.&rdquo;</span></p> <p style="line-height: 26px; padding-left: 90px;">&mdash;<a style="font-family: georgia, palatino; font-size: medium;" href="https://www.youtube.com/watch?v=pUkW0kWb1x0" target="_blank">Immigrants! Featuring Donald Trump and Tony Abbott</a><span style="font-family: georgia, palatino; font-size: medium;">, 2015,<br /></span><span style="font-family: georgia, palatino; font-size: medium;">Juice Rap News #34, presented in&nbsp;</span><em style="font-family: georgia, palatino; font-size: medium;">A World Not Ours</em><span style="font-family: georgia, palatino; font-size: medium;"><br /></span></p> </blockquote> <p style="line-height: 26px;"><span style="font-family: georgia, palatino; font-size: medium;">&nbsp;</span></p> <p style="line-height: 26px;"><span style="font-family: georgia, palatino; font-size: medium;"><em><strong>Updated, August 29:&nbsp;</strong>Shortly after this article was written, the&nbsp;<a href="http://www.ekathimerini.com/211063/article/ekathimerini/life/george-drivas-work-to-represent-greece-at-57th-venice-biennale" target="_blank" data-saferedirecturl="https://www.google.com/url?hl=en&amp;q=http://www.ekathimerini.com/211063/article/ekathimerini/life/george-drivas-work-to-represent-greece-at-57th-venice-biennale&amp;source=gmail&amp;ust=1472496101334000&amp;usg=AFQjCNHv3Dhpfv8GV_aEsUp8Rvu302YmqA">Greek representation at 57th VeniceBiennale</a>&nbsp;was announced; George Drivas, the featuring artist, will present the film work </em>Workshop of Dilemmas<em>, curated by Orestis Andreadakis. This much-anticipated artistic response to the refugee crisis, a narrative installation on the agony of the <em>&ldquo;</em>host<em>&rdquo;</em> in front of a potentially threatening <em><em>&ldquo;</em></em>guest,<em>&rdquo;</em> will shift focus onto countries receiving the migration flows, contributing greatly to the above discussion.</em></span></p> <p style="line-height: 26px;"><span style="font-family: georgia, palatino; font-size: medium;">&nbsp;</span></p> <p class="normal" style="line-height: 26px;"><span style="font-family: georgia, palatino; font-size: medium;">&mdash;Anthi Argyriou</span></p> <p style="line-height: 26px;"><span style="font-family: georgia, palatino; font-size: medium;"><em><a href="https://about.me/anthiargyriou">Anthi Argyriou</a> is a curator and art theorist based in Thessaloniki, Greece.&nbsp;She has curated exhibitions in museums, visual art festivals and art galleries, while she has also coordinated educational programs and international conferences in Amsterdam and Thessaloniki on issues of cultural theory and contemporary artistic practices.</em></span></p> <p style="line-height: 26px;"><span style="font-family: georgia, palatino; font-size: medium;">&nbsp;</span></p> <p style="line-height: 26px;"><span style="font-family: georgia, palatino; font-size: medium;"><span style="font-size: x-small;">(Image at top: Courtesy Yannis Behrakis/Reuters)</span><br /></span></p> Mon, 29 Aug 2016 09:03:11 +0000 http://www.artslant.com/trn/Articles/list http://www.artslant.com/trn/Articles/list Exposing Visual Rhymes: An Interview with Mario Ybarra Jr. <p style="line-height: 26px; text-align: justify;"><span style="font-size: medium; color: #000000; font-family: arial,helvetica,sans-serif;"><em><strong>This interview was <a href="http://www.artslant.com/chi/artists/rackroom/450" target="_blank">originally published</a> way back on ArtSlant Chicago, in May, 2008, on the occasion of&nbsp; Mario Ybarra Jr.'s exhibition at the Art Institute of Chicago. The LA-based artist is known for his installations drawing from pop and street culture, including a recent solo show examining the mythos of Scarface at LA's Honor Fraser Gallery. Right now his work can be found <a href="http://nomadicdivision.org/exhibition/mario-ybarra-jr/" target="_blank">on a billboard in Mobile, AL</a>, part of Los Angeles Nomadic Division's Manifest Destiny Project.</strong></em></span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-size: medium; color: #000000; font-family: arial,helvetica,sans-serif;"> Mario Ybarra, Jr. is a LA-based visual and performance artist who has created room-sized installations all over the world and most recently right here in Chicago for the Art Institute of Chicago. This year Ybarra was also selected to participate in the Whitney Biennial. Beneath Ybarra's friendly demeanor lies a keen observer who is quick to expose visual rhymes in seemingly unrelated sources and to expand and build upon those connections until a cohesion is reached, or as he might say, a story. Ybarra graciously met with ArtSlant's Abraham Ritchie while putting the finishing touches on his installation at the Art Institute. Ever the raconteur, Ybarra talked about his native LA, baseball and King Arthur. Below is an excerpt of our conversation.</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-size: medium; color: #000000;"><img style="margin: 10px auto; vertical-align: middle; display: block;" src="/userimages/3151/PICT0018.JPG" alt="" /></span></p> <hr style="line-height: 26px; text-align: justify;" /> <p style="line-height: 26px; text-align: justify;"><span style="color: #000000;">&nbsp;</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-size: medium; color: #000000;"><strong><em>Abraham Richie: I think a lot of Chicagoans, and everyone, might want to know what the connection is between Southern Los Angeles, Catalina Island and Wrigley Field? It&rsquo;s kind of funny to think that Wrigley Field had a &ldquo;secret brother&rdquo; or something like that on the West Coast, because I am not sure that many people remember or know about this other Wrigley Field.</em></strong></span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-size: medium; color: #000000;"><strong>Mario Ybarra, Jr.:</strong> Well that&rsquo;s where this whole project started for me. About a year ago Lisa Dorin, the Assistant Curator in the Contemporary Art Department, asked me if I wanted to come up with a proposal to do a Focus project here at the Art Institute of Chicago, and I said I would think about it a little bit. The way that I try to work is that I try to make some kind of relationship between a personal experience, or my personal understanding or knowledge and the place that I show. I don&rsquo;t like the idea of coming in and claiming an expertise on a place that I know nothing about. I&rsquo;ve found that doing something that starts in the realm of the personal and then taking it out to another place and trying to make relationships between those two places is the most successful tactic for me. . . I try to make bridges, so to speak.</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-size: medium; color: #000000;">As a kid we would take trips out to Catalina Island, which is part of the Channel Islands, about 26 miles off the coast of Los Angeles. I remember part of the tour was the local history. They&rsquo;d always tell us that William Wrigley, Jr. owned Catalina Island and he had famous movie stars of the time going out there, like Clark Gable. His Chicago Cubs would go out and have their spring training there. The main town there is called Avalon and it gets its name from [Wrigley&rsquo;s] niece, who told [Wrigley] to name it that after the Avalon of King Arthur and the Knights of the Round Table and those stories. So it has this mythological side of it too. It has real histories, the local histories, of it being owned by Wrigley, and it has this mythological history through the King Arthur association. My studio back in LA is on Avalon Boulevard and they named [the street] that because that&rsquo;s where the boats used to take people out to Avalon Harbor on the island. I started doing research about that, I&rsquo;m like a de facto historian, and I found that Wrigley, along with owning the island, owned this other Wrigley Field that was in South Central Los Angeles on Avalon and 66th street. So we had the Avalon Harbor on Catalina Island, my studio on Avalon, this field that Wrigley owned was also on Avalon, I just kept following the line. I thought I could take this story from Avalon, to Avalon Boulevard, to my studio, to Avalon were the stadium was, to all the way down Highway 66 to Chicago and the Art Institute.</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-size: medium; color: #000000;">I&rsquo;m figuring out ways to make these relationships between historical figures like William Wrigley, who was important to historical cities like Los Angeles and Chicago, and bring these stories together somehow, make bridges between the stories. Between what I know and my experiences and the places that I go.</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-size: medium; color: #000000;"><strong><em>AR: Sports are the site of an obvious physical conflict and throughout the exhibit are interesting juxtapositions: the Mexican flag and the U.S. flag, the sword and the baseball bat, the fist of the Revolution and an image of a capitalist&rsquo;s private island. The history of the island reflects conflict as well, in the seventies it was occupied by the Brown Berets. How are sports, especially baseball, viewed both literally and metaphorically for this project, and the issues it raises?</em></strong></span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-size: medium; color: #000000;"><strong>MY:</strong> Well I have always thought of the history of baseball as particularly related to the United States. It&rsquo;s billed as &ldquo;the American Game;&rdquo; it&rsquo;s not really played around the world at all other than some Latin American countries, like the Dominican Republic where all these new players are coming from and where young people are specifically groomed to be ball players. But in relation to the United States, and this comes from the different things that I have watched or read, the developments of social movements in the United States almost always came ten years later than in the ball game itself. Baseball has been very slow to change, and it hasn&rsquo;t changed really over the few centuries its been played here. But it still has these kind of leading edges. Let&rsquo;s take for example the story of integration and civil rights. Jackie Robinson starts playing with the Brooklyn Dodgers in the 1950's and certain places, like schools, weren&rsquo;t integrated until the early sixties or late sixties. Baseball reflects a little bit in advance the kind of social movements that will happen in the United States.</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-size: medium; color: #000000;">Another thing that I think is very interesting in terms of conflict and it being a spectator sport, even though there are rival teams and most big cities have their own team, [there is a sense of unity]. Before professional baseball, each little town would have a team, even though there was a sense of rivalry or competition, the people were brought together as spectators to cheer on their team. So even though there was a site of conflict, it wasn&rsquo;t like it was Rome and gladiators were getting fed to lions [laughter]. There is a sense of sportsmanship [. . .]</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-size: medium; color: #000000;">Related to issues of capitalism and revolution, or acts of civil disobedience, there is a sense of teams. I play off that with the posters, we have here a baseball with two bats crossed, but instead of a regular team you have the Brown Beret guys who tried to occupy the island in 1972 so they&rsquo;re like &ldquo;the team.&rdquo; The idea of &ldquo;the team&rdquo; is important too and the metaphor of a team. The idea that everyone has their positions but also act as a unit is very important and is a metaphor for myself.</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-size: medium; color: #000000;"><img src="/userimages/3151/PICT0019.JPG" alt="" width="338" height="443" /></span></p> <p style="line-height: 26px; text-align: justify;"><br /><span style="font-size: medium; color: #000000;"><strong><em>AR: The idea of teams is also apparent in this wall of flags you have installed. What are the flags we have here?</em></strong></span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-size: medium; color: #000000;"><strong>MY:</strong> This is the state of Illinois&rsquo; flag. The flags are also stadium-esque, they always have them. The other thing, again about making relationships, is this is the state of Illinois&rsquo; flag, which has an eagle perched on a rock holding a shield and in his mouth is a banner. I thought that is very interesting, because over here is the Mexican flag, and again we have the eagle, this time perched on the cactus, and the snake in his mouth pretty much mimics the banner in the Illinois flag. Those kinds of aesthetic relationships and symbolic choices are very interesting.</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-size: medium; color: #000000;"><img style="margin: 10px; vertical-align: middle;" src="/userimages/3151/PICT0015.JPG" alt="" width="430" height="328" /></span></p> <p style="line-height: 26px; text-align: justify;"><br /><span style="font-size: medium; color: #000000;"><strong><em>AR: Even looking at the Illinois flag, that&rsquo;s more of an Aztec style eagle than a typical American-style eagle.</em></strong></span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-size: medium; color: #000000;"><strong>MY:</strong> Yeah. Those are the kinds of things I noticed in my visits to Chicago to prepare for this show, last year and earlier this year. I started seeing these kinds of relationships, like the Illinois flag&rsquo;s similarity to the flag of Mexico.</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-size: medium; color: #000000;">This row of flags will start off with the U.S. flag, the state of Illinois flag, Chicago flag, Los Angeles flag, state of California flag, and the Mexican flag. We have these different relationships between these two places starting with the cities and then going to the states. We have the state of Mexico flag, even though California is not part of Mexico, it used to be part of Mexico, but it&rsquo;s related to the histories that we have here. Catalina Island was occupied by the Brown Berets because in the Treaty of Guadalupe-Hidalgo, which separated the Southwest from Mexico after the Mexican-American War, the island wasn&rsquo;t specifically mentioned. This is why the Brown Berets tried to occupy it.</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-size: medium; color: #000000;">There are interrelationships between the two places [Chicago and LA]. I thought that was another kind of metaphor for the show, in terms of Wrigley being this character and starting with him, saying no man is an island, or no city, or no country or land is an island. They&rsquo;re all in relationship, in context, to their neighbors. Imagine if we thought that we could do everything, under our own power, we&rsquo;d get ourselves in trouble. We can talk about it in relationship to land, in relationship to people. Or no island is a man, we could even switch it.</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-size: medium; color: #000000;">I wanted to draw these kinds of relationships together, one between Los Angeles and Chicago, two between Mexico and the States, three between baseball and mythology. Different symbolic orders, things like ships or bubble gum.</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-size: medium; color: #000000;">&nbsp;</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-size: medium; color: #000000;"><em>ArtSlant would like to thank Mario Ybarra, Jr., Jenny Gheith and Lisa Dorin for their assistance in making this interview possible. Additional thanks to the Anna Helwing Gallery and the Art Institute of Chicago</em></span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-size: medium; color: #000000;">-<a href="http://www.artslant.com/global/artists/show/16747-abraham-ritchie?tab=REVIEWS"><span style="color: #000000;"> Abraham Ritchie</span></a></span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-size: x-small; color: #000000;">&nbsp;</span></p> <p style="line-height: 26px; text-align: justify;"><span style="font-size: x-small; color: #000000;">(Top image: <strong>Mario Ybarra Jr</strong>, Manifest Destiny Project billboard, 2014; Courtesy of LAND. All other images are installation views of <em>Take Me Out. . . No Man Is an Island</em>, 2008; Courtesy of the Artist)</span></p> <p style="text-align: justify;"><span style="font-size: medium; color: #000000;"><em>&nbsp;</em></span></p> <p style="text-align: justify;"><span style="color: #000000;">&nbsp;</span></p> <p style="text-align: justify;"><span style="color: #000000;">&nbsp;</span></p> Wed, 19 Mar 2014 21:52:42 +0000 http://www.artslant.com/trn/Articles/list http://www.artslant.com/trn/Articles/list