ArtSlant https://www.artslant.com/ny/Articles/show en-us 40 Ordinary Bravery: In Lesbos and Athens, Refugees Live in Limbo [Photo Essay] <p style="margin-left: 40px;"><em>&ldquo;We don&rsquo;t have the option to go home, we lost everything!&rdquo; &mdash;Mohammed Yamma, from Afghanistan</em></p> <p>Can art provide a constructive and authentic response to the refugee crisis? In response to this <a href="https://www.artslant.com/ew/articles/show/46417-can-art-respond-authentically-to-the-refugee-crisis-a-critical-overview-from-greece" target="_blank">well-trodden question</a>, <a href="http://davidberryphotographer.com/" target="_blank">David Evans Berry</a>, a photographer from Wales, travelled to Lesbos and Athens earlier this year to capture the ongoing crisis and what happens to the people left stranded in a no man&rsquo;s land.</p> <p>Taking time to hear the stories of those who had fled to Greece, and keeping the humanity of his subjects as his guiding motivation, David was intent on avoiding any imagery that might aestheticize human suffering. The result is <em>The Orange Tree</em>,&nbsp;a moving portfolio&mdash;showing what every day life was like in the Greek camps for the men, women, and children who had to endure them&mdash;shot, David says, with the belief that, &ldquo;Art can change perspective: I wanted to avoid the dominant narrative of pity, to celebrate a shared humanity. Many major socio-political problems in our world come about because of people trying to create the idea of &lsquo;the Other.&rsquo; I don&rsquo;t want to neglect the ability of art to change society for the better.&rdquo;</p> <p>&nbsp;</p> <p style="text-align: center;"><iframe allowfullscreen="" frameborder="0" height="394" mozallowfullscreen="" src="https://player.vimeo.com/video/192246883?title=0&amp;byline=0&amp;portrait=0" webkitallowfullscreen="" width="700"></iframe></p> <p style="text-align: center;"><span style="font-size:14px;"><em><a href="https://vimeo.com/192246883">The Orange Tree</a></em></span></p> <p style="text-align: center;">&nbsp;</p> <p>David and his brother Si&ocirc;n had friends from the UK who were volunteering to help run part of a makeshift security operation in Athens where the brothers helped out for a few days when they first arrived. The brothers continued to volunteer, doing what they could, while they documented the situation with interviews from the refugees, volunteers, and islanders, in Si&ocirc;n&rsquo;s short film also titled&nbsp;<em>The Orange Tree</em>.</p> <p>In the film we see refugees in Lesbos stuck behind barb wire fences of holding camps appealing, &ldquo;We come to Europe for a free life, we are not criminals... for why the jail?&rdquo; They shout all the countries they have come from: Afghanistan (the Afghani diaspora being the largest in the world), Syria (there are now no hospitals left in Aleppo, where bombs and chlorine gas fall daily), Pakistan, Iran&mdash;all the places we hear about on the news, places that until very recently had been confined to our, Europeans&rsquo;, TV screens.</p> <p>&nbsp;</p> <p style="text-align: center;"><img alt="" src="https://s3.amazonaws.com/media.artslant.com/userimages/32120/1dkh/20161208113441-Lesvos431.jpg" /></p> <p style="text-align: center;"><img alt="" src="https://s3.amazonaws.com/media.artslant.com/userimages/32120/1dkh/20161208115110-Lesvos_AthensFinalEdit-13.jpg" /></p> <p>&nbsp;</p> <p>In one day in October last year over 12,000 refugees arrived on Lesbos. You could recognize &ldquo;the north coast of Lesbos from space, because of the red, and the red was life jackets,&rdquo; recalled one volunteer in the film.</p> <p>The news is saturated with stories of &ldquo;refugees&rdquo; and &ldquo;immigrants&rdquo;&mdash; dehumanizing labels that have allowed many people to disconnect from the suffering of those fleeing for their lives. The innate emotional response to help&mdash;a response borne from a sense of understanding, and so, unity&mdash;is suppressed once people are lumped into an inanimate, amorphous mass of &ldquo;refugees&rdquo; or &ldquo;immigrants.&rdquo; Nevertheless, there are people out there trying to help each other, displaying the sort of humanity you might hope.</p> <p>&nbsp;</p> <p style="text-align: center;"><img alt="" src="https://s3.amazonaws.com/media.artslant.com/userimages/84518/3mfh/20161208143927-Lesvos27.jpg" /></p> <p>&nbsp;</p> <p>In his photographs, David made a conscious decision to focus on the refugees and the Greek landscape absorbing them; but for their film he and Si&ocirc;n interviewed Erik and Philipa Kempson, who have lived on the island for over 16 years and started rescuing people from boats in 2015. Erik described the escalating situation as refugees made the passage from Turkey to Lesbos:</p> <p style="margin-left: 80px;">In the beginning they used to row in small little boats and it used to take them the best part of ten hours or something, maybe more, and normally ten guys at a time in a boat. But towards the end of 2014 boats started getting engines and were getting a lot bigger&mdash;you could have 60 to 70 people on a boat and we noticed that women and babies and children started coming&hellip;</p> <p style="margin-left: 80px;">&nbsp;</p> <p style="text-align: center;"><img alt="" src="https://s3.amazonaws.com/media.artslant.com/userimages/32120/1dkh/20161208112936-Lesvos_AthensFinalEdit-3__1_.jpg" /></p> <p style="text-align: center;"><img alt="" src="https://s3.amazonaws.com/media.artslant.com/userimages/32120/1dkh/20161208121245-Lesvos_AthensFinalEdit-11__1_.jpg" /></p> <p style="text-align: center;">&nbsp;</p> <p>At Piraeus Harbor, a short train ride from Athens&rsquo; busy city center, Persian music plays while boys dance, and children giggle as they push each other in discarded trolleys. But there are also thousands of tents and crowds of refugees cramming the waterfront. Unfortunately, the crisis is a little more complex than saving people&rsquo;s lives at sea: the refugees need to be allowed to continue their lives once they make it to shore. They face a very uncertain future: many in the camps wait to find out if they will be deported back to Turkey like so <a href="http://www.economist.com/news/europe/21699320-migrants-have-stopped-arriving-they-are-not-being-sent-back-either-greece-was-supposed" target="_blank">many others before them</a>. &ldquo;We hear Europe saying on TV, &lsquo;We are defender of human rights&rsquo;&mdash;what human rights? What kind of human rights are here?&rdquo; Mohammed Yamma asks.</p> <p>&nbsp;</p> <p style="text-align: center;"><img alt="" src="https://s3.amazonaws.com/media.artslant.com/userimages/32120/1dkh/20161208110822-Mohammed_-_kidnapped.jpg" /></p> <p style="text-align: center;"><span style="font-size:14px;">Mohammed Yamma</span></p> <p style="text-align: center;">&nbsp;</p> <p>Mohammed was studying at university in Afghanistan until he was forced to flee in 2015, when the violence there left him with no other option. Before reaching Greece, Mohammed travelled on foot for nine days from Afghanistan, through Pakistan and Iran, to Turkey. In Turkey Mohammed was kidnapped by the people smugglers who had promised him safe passage, and held prisoner in a house &ldquo;like a jail&rdquo; for one month and three days until he was able to come up with more money. Mohammed says that because of Europe&rsquo;s closed borders he has been left with no option but to &ldquo;play the game&rdquo; of the people smugglers. When he was finally put on a boat to Greece, he was told there would be a total of 34 refugees on it, but in reality, &ldquo;it was more than 70 passengers. There wasn&#39;t an option to go back&hellip; But when we went there, they told us, &lsquo;Go sit in that boat. I don&rsquo;t care if you die. I don&#39;t care if the police arrest you. I don&#39;t care. I get value for my money, I don&#39;t care about your life&rsquo;&mdash;like this.&rdquo;</p> <p>By April 2016, Mohammed was one of thousands trapped in the makeshift harbor camp.</p> <p>&nbsp;</p> <p style="text-align: center;"><img alt="" src="https://s3.amazonaws.com/media.artslant.com/userimages/32120/1dkh/20161208110853-Sami_Syrian_Barber.jpg" /></p> <p style="text-align: center;"><span style="font-size:14px;">Sami</span></p> <p>&nbsp;</p> <p>Life and time may seem to freeze for those stranded in the camps, but hair continues to grow, which is why Sami&mdash;a professional hairdresser and singer&mdash;decided to set up a barbershop in a small wooden shed on site. Sami is originally from Damascus: &ldquo;Syria will keep in my mind. I will never forget breakfast at the morning, I will never forget the smell of jasmine.&rdquo; &ldquo;In search of safety,&rdquo; he travelled from Syria, via Turkey, to Greece on a crossing known among refugees as the &ldquo;journey of death.&rdquo; Though the Greek government, and many other European governments, have been regularly lambasted for their lack of humanity and &ldquo;<a href="https://www.theguardian.com/world/2016/apr/20/eu-refugee-deal-turkey-condemned-council-of-europe" target="_blank">acting shamefully slow</a>&rdquo; in the words of the European council, Sami points out that on the ground, people are trying: &ldquo;Greek people are wonderful people and deal with us with goodness and humanity; but we were in a very bad situation&hellip; I thank Greece for what they offer us, and I thank the Greek people for their humanity.&ldquo;</p> <p>&nbsp;</p> <p style="text-align: center;"><img alt="" src="https://s3.amazonaws.com/media.artslant.com/userimages/32120/1dkh/20161208110930-Sajad_Hanifi__and__Eajaz_Hanifi.jpg" /></p> <p style="text-align: center;"><span style="font-size:14px;">Sajad and Eajaz Hanifi</span></p> <p>&nbsp;</p> <p>Sajad and Eajaz Hanifi are brothers from Afghanistan who travelled to Greece with their mother and their elderly, diabetic grandmother. In <em>The Orange Tree</em>, Sajad tells us matter-of-factly that their father was killed by the Taliban five years ago, &ldquo;They killed him&hellip; my father&rsquo;s died.&rdquo; With great maturity, Eajaz explains why they&rsquo;re here, what they hope for from their future, &ldquo;We want to study&hellip; we are coming here to learn more from the Europe[an] countries.&rdquo;</p> <p>&nbsp;</p> <p style="text-align: center;"><img alt="" src="https://s3.amazonaws.com/media.artslant.com/userimages/32120/1dkh/20161208110956-Fatima_and_Leila.jpg" /></p> <p style="text-align: center;"><span style="font-size:14px;">Fatima Yusef and Leila Brahim</span></p> <p style="text-align: center;">&nbsp;</p> <p>Mother and daughter Leila Brahim and Fatima Yusef arrived in Greece fleeing the ongoing war in Syria. Fatima became friends with David&rsquo;s volunteer friend Becca Dalby Bowler, who was working with Fatima and other refugees in a teenagers and young women&rsquo;s group at the camp in Piraeus Harbour, Athens.</p> <p>&nbsp;</p> <p style="text-align: center;"><img alt="" src="https://s3.amazonaws.com/media.artslant.com/userimages/32120/1dkh/20161208111023-Mohammed.jpg" /></p> <p style="text-align: center;"><span style="font-size:14px;">Mohammed Hannif</span></p> <p>&nbsp;</p> <p>Mohammed Hannif used to be employed as personal security for the US embassy in Afghanistan. &ldquo;I like Afghanistan, Afghanistan is my country, it&rsquo;s my heart&hellip; I come from my country because I want just a safe location for me, for my family.&rdquo;</p> <p>In order to get to a safe location, Mohammed and his family travelled in a taxi filled with fifteen people: five in the boot, and eight people in the backseat. He and his family then had to cross the mountain border between Iran and Turkey, at night on foot&mdash;the journey took nine hours through one meter of snow.</p> <p>Mohammed had been to a couple of refugee camps in Greece, travelling to Idomeni, on the Greece/Macedonian border. But there was no food or medical facilities, so he decided to return to Athens with his family, where they slept in a tent by the harborside.</p> <p>&nbsp;</p> <p style="text-align: center;"><img alt="" src="https://s3.amazonaws.com/media.artslant.com/userimages/32120/1dkh/20161208111219-Lesvos_AthensFinalEdit-2__1_.jpg" /></p> <p style="text-align: center;"><img alt="" src="https://s3.amazonaws.com/media.artslant.com/userimages/32120/1dkh/20161208111235-Masha.jpg" /></p> <p style="text-align: center;"><span style="font-size:14px;">Masha</span></p> <p style="text-align: center;">&nbsp;</p> <p>As Brexit showed, fear of immigration is rampant in the public imagination, with fears of the financial tax on the state standing in for a more visceral reaction to multiculturalism. Mohammed&rsquo;s case is not helped by the fact that Afghans are <a href="http://www.aljazeera.com/news/2016/10/eu-deal-clears-deportation-unlimited-afghan-refugees-161004132025865.html" target="_blank">often classified as &ldquo;economic migrants,&rdquo;</a>&nbsp;a classification that allows for deportation from the EU. He was clearly aware of this connotation when he explained his situation, &rdquo;I don&rsquo;t have problems for money or finances. I have problems with attacks, explosions, war... Daesh, Al-Qaeda, Taliban.&rdquo;</p> <p>There might be a temptation for artists not to engage directly with highly sensitive subjects for fear of trivializing suffering; but in an event that will be looked back on as a pivotal, and ultimately transformative moment in our collective history, it is important to remember that we are still experiencing, and therefore influencing, the outcome now. The temptation for artists to turn a blind eye, would probably be a worse one: if artists don&rsquo;t respond to events like this then the events, and the human beings involved in them, are subject to the transience of news cycles.</p> <p>&nbsp;</p> <p style="text-align: center;"><img alt="" src="https://s3.amazonaws.com/media.artslant.com/userimages/32120/1dkh/20161208111723-Lesvos_AthensFinalEdit-5__1_.jpg" /></p> <p style="text-align: center;"><img alt="" src="https://s3.amazonaws.com/media.artslant.com/userimages/32120/1dkh/20161208115203-osama_gameel.jpg" /></p> <p style="text-align: center;"><span style="font-size:14px;">Osama Gameel</span></p> <p style="text-align: center;">&nbsp;</p> <p>Art has long been used as means of conveying the complexities of the human experience, the point of which is: imagine if it were you. By giving his images context, and his subjects and collaborators the opportunity to be more than subtext, David Evans Berry attempts to generate empathy, instead of sympathy. War and geopolitical conflicts cause ordinary people to rise to extraordinary challenges&mdash;but we shouldn&#39;t forget that they are still ordinary people just looking for a home. Taking the time to understand firsthand the day-to-day reality of the situation thousands are in, photographers like David record and honor that lived experience, instead of glamorizing or glorifying (or even reenacting, as in Ai Weiwei&rsquo;s most notorious response) the most traumatic moments of the refugees.</p> <p>Esther Camis, a Proactiva volunteer lifeguard from Spain told David and Si&ocirc;n: &ldquo;They know that everything is difficult, but they keep trying to come. [One man] told me, &lsquo;I will sleep in the mud, I will sleep in the ground, I don&rsquo;t care but I have to come&mdash;I will die over there [in Syria].&rsquo; He was smoking a cigarette, very calm and very happy, but I was like, <em>what a brave man</em>.&rsquo;&rsquo;</p> <p style="text-align: center;">&nbsp;</p> <p>&mdash;<a href="https://www.artslant.com/global/artists/show/416261-jade-angeles-fitton?tab=REVIEWS" target="_blank">Jade Angeles Fitton</a></p> <p><i>Jade Angeles Fitton is a writer currently based in Devon. You can find her work at <a href="https://trippingoverwhippets.com/" target="_blank">trippingoverwhippets</a>.</i></p> <p>&nbsp;</p> <p><span style="font-size:14px;">(Note:&nbsp;Names of subjects have been included where they have been shared with the photographer. All images: Courtesy of David Evans Berry)</span></p> Fri, 09 Dec 2016 08:56:53 +0100 https://www.artslant.com/ny/Articles/list https://www.artslant.com/ny/Articles/list Is the Free Art in “Take Me (I’m Yours)” Too Much of a Good Thing? <p>A temporary tattoo of random letters in Lawrence Weiner&rsquo;s iconic script; a Gilbert &amp; George pin reading &ldquo;Burn That Book&rdquo;; a black and white t-shirt by Rirkrit Tiravanija&mdash;these were all in my brown paper bag as I walked down 5th Avenue. No, I was not leaving a private auction, nor am I a millionaire collector. All of these artworks, and many more by some of the world&rsquo;s most prominent contemporary artists, are available at the Jewish Museum right now&mdash;for free&mdash;in <a href="https://www.artslant.com/ny/events/show/427431-take-me-im-yours" target="_blank"><em>Take Me (I&rsquo;m Yours)</em></a>.</p> <p>The exhibition, in which all the artworks have elements that viewers can touch or take home, restages a 1995 show of the same name at London&rsquo;s Serpentine Gallery. Curated by Hans Ulrich Obrist and Christian Boltanski, the original exhibition opened and expanded the discussion around participatory art, and the new installation, more than twenty years later, shows how this conversation is anything but resolved. Obrist along with the Jewish Museum&rsquo;s Jens Hoffmann and Kelly Taxter have brought together twelve of the original artists with thirty new additions from around the globe.</p> <p>Relational aesthetics, an art movement that emerged more than two decades ago to scrutinize the relationship between the work and its audience, still challenges art critics, curators, and institutions to pick sides. When Nicolas Bourriaud, its foremost curator, coined the term relational aesthetics in his namesake text in 1998, he suggested that the dynamics of the movement pose a challenge due to its open-ended and loosely-orchestrated nature.</p> <p>&nbsp;</p> <p style="text-align: center;"><img alt="" src="https://s3.amazonaws.com/media.artslant.com/userimages/32120/1dkh/20161207130621-20160912_TJM_Sept_2016_VIP_Opening_137.jpg" /></p> <p style="text-align: center;"><span style="font-size:14px;">Lawrence Weiner, <em>NAU EM I ART BILONG YUMI (The art of today belongs to us)</em>, 1988-2016. Courtesy of the artist. Artwork &copy; Lawrence Weiner / Artists Rights Society (ARS), New York</span></p> <p style="text-align: center;">&nbsp;</p> <p>&ldquo;Transitivity is as old as the hills. It is a tangible property of the work. Without it, the work is nothing other than a dead object, crushed by contemplation,&rdquo; wrote Bourriaud in his <a href="http://www.kim-cohen.com/seth_texts/artmusictheorytexts/Bourriaud%20Relational%20Aesthetics.pdf" target="_blank">essential text</a>, adding, &ldquo;any artwork might thus be defined as a relational object, like the geometric place of a negotiation with countless correspondents and recipients.&rdquo; The distributed works on view in <em>Take Me (I&rsquo;m Yours)</em> emphasize a major element within relational aesthetics: claiming possession of the work. Viewers become participants as they take pieces of the original work, furthering the dialogues and influence beyond the museum setting. Through touching, tasting, or wearing, the audience internalizes artworks typically protected and kept away from interaction. Thus, each audience member takes a role in determining the work&rsquo;s existence: their material consumption infuses into the core of the discourse.</p> <p>The strengths, and challenges, associated with relational aesthetics occupy this dual territory in which the art institution mutates into a mundane social environment, be it a store, restaurant, school, or park. Instigated by social engagements typically practiced in public locales, impromptu performances, spearheaded by artists and maintained by audience participation, modify traditional structures of white cubes while freeing the works from narrative climaxes. The fact that claiming ownership is the main premise in <em>Take Me (I&rsquo;m Yours)</em> frames this particular conversation within shopping, a type of commercial exchange many contemporary artists&mdash;including those in this exhibition, such as Gilbert &amp; George, Yoko Ono, and Christian Boltanski&mdash;have always remained critical about. This tension in the exhibition is clear: the diffusion of so many identical objects&mdash;and at little or no cost to the new owner, no less&mdash;undermines the commercial value of the singular, precious art object. At the same time, shattering the mystical aura around artwork as an inviolable object, the show&rsquo;s foundation on physical transactions attributes a commercial element to what would otherwise be a strictly fixed interaction between two parties: viewer looks at artwork.</p> <p>&nbsp;</p> <p style="text-align: center;"><img alt="" src="https://s3.amazonaws.com/media.artslant.com/userimages/32120/1dkh/20161207130721-20160912_TJM_Sept_2016_VIP_Opening_032.jpg" /></p> <p style="text-align: center;"><span style="font-size:14px;">Felix Gonzales-Torres, <em>Untitled (USA Today)</em>, 1990, candies individually wrapped in red, silver, and blue cellophane, endless supply. The Museum of Modern Art, New York, gift of the Dannheisser Foundation, 1996. &copy; The Felix Gonzalez-Torres Foundation, courtesy of Andrea Rosen Gallery, New York</span></p> <p style="text-align: center;">&nbsp;</p> <p>Visiting the exhibition a second time on a Saturday, when the museum offers free admission, complicated this whole affair. Alongside a crowd including Upper East Side locals, a few tourists, and those who heard from the grapevine about the show&rsquo;s particular premise, I gathered a few artworks, including Alex Israel&rsquo;s pins of his silhouette, <em>Self-Portrait (Label Pin) </em>(2016) and pieces from all-time favorite Felix Gonzalez-Torres&rsquo; <em>Untitled (USA Today)</em> (1990) installation of candies in the colors of American flag. The shiny wrappers, waiting to be grabbed and consumed, are a milestone in Conceptual art and an exemplification of American identity that never seems dated in its method.</p> <p>The exhibition was packed, and during this visit, the museum had exhausted its sources to refill Tiravanija&rsquo;s giveaway t-shirts <em>untitled 2016 (form follows function or vice versa no.two)</em> (2016), rather displaying the silver-colored Minimalistic box that once housed the garments. Safeguarding against their depletion Jonathan Horowitz&rsquo;s <em>Free Store</em> (2016) and Christian Boltanski&rsquo;s<em> Dispersion </em>(1991&ndash;2016), on the other hand, poignantly require participants to substitute each takeaway with one contribution, initiating broader conversation around the notions of ownership and consumption through spontaneous donations from anonymous individuals&mdash;a stand that seems comparatively critical about the show&rsquo;s up-for-grabs assumption.</p> <p>&nbsp;</p> <p style="text-align: center;"><img alt="" src="https://s3.amazonaws.com/media.artslant.com/userimages/32120/1dkh/20161207130829-20160912_TJM_Sept_2016_VIP_Opening_188.jpg" /></p> <p style="text-align: center;"><span style="font-size:14px;">Christian Boltanski, <em>Dispersion</em>, 1991-2016, used clothing, bags. Courtesy of the artist and Marian Goodman Gallery, New York. &copy;&nbsp;The Jewish Museum</span></p> <p style="text-align: center;">&nbsp;</p> <p>&ldquo;This mixed panorama of socially collaborative work arguably forms what avant-garde we have today: artists using social situations to produce dematerialized, anti-market, politically engaged projects that carry on the modernist call to blur art and life,&rdquo; writes Claire Bishop in her 2012 book <em>Artificial Hells </em>in which she studies the impact of socially engaged art as opposed to the spectacle of its content. &ldquo;While I am broadly sympathetic to that ambition,&rdquo; she continues, &ldquo;I would argue that it is also crucial to discuss, analyze, and compare such work critically as art.&rdquo; The disarray <em>Take Me (I&rsquo;m Yours)</em> falls into derives from the profusion of such exchange crammed onto a single museum floor where works, in excess number, lack the space to individually exist, furthermore obstructing one another from building dialogues.</p> <p>The audience, like children in a candy store, leap from one giveaway to the next&mdash;having fun, sure&mdash;yet potentially eschewing some of the theoretical concerns emphasized by the artists. Many works in the show reconsider this very &lsquo;90s genre within current socio-political and cultural discourse. Daniel Joseph Martinez, for example, offers emergency blankets folded into plastic bags to be given to those in need, and Andrea Bowers&rsquo; work includes ribbons in various colors printed with expressions like &ldquo;Trans Is Beautiful&rdquo; or &ldquo;Deport Hate.&rdquo; Yet, in an exhibition where the interaction between the work and its viewer reaches such frenzied extents, the highly voluminous checklist seems to distract the participants from grasping the crux.</p> <p>&nbsp;</p> <p style="text-align: center;"><img alt="" src="https://s3.amazonaws.com/media.artslant.com/userimages/32120/1dkh/20161207130913-20160912_TJM_Sept_2016_VIP_Opening_109.jpg" /></p> <p style="text-align: center;"><span style="font-size:14px;">Andrea Bowers, <em>Political Ribbons</em>, 2016, screenprinted ribbons. Courtesy of the artist and Andrew Kreps Gallery, New York. &copy;&nbsp;The Jewish Museum</span></p> <p>&nbsp;</p> <p>But then one may ask: is anything <em>really</em> free? Aptly contributing to the exhibition&rsquo;s interactive aspect was a <a href="https://www.kickstarter.com/projects/jewishmuseum/take-me-im-yours" target="_blank">Kickstarter</a> project, asking donors to participate in raising $30,000 to secure the constant refill of takeaway pieces, eventually orchestrating a unique network in which the public&rsquo;s monetary engagement online initiated gratis gains in the unconventional museum-going public realm. I couldn&rsquo;t help but ask myself whether the original exhibition would have included such a component had internet culture and networks been that prominent back then. Although, the genuine intention was to raise enough money to fund the exhibition, this online dialogue, including the website where gifts were offered to donors at different levels, adds a consequential element to the relational network of exchanges and transactions, where monetary and ethereal gains intertwine.&nbsp;&nbsp;&nbsp;</p> <p><a href="https://www.artslant.com/ny/events/show/427431-take-me-im-yours" target="_blank">Take Me (I&rsquo;m Yours) </a><em>continues at The Jewish Museum in New York through February 5, 2017.</em></p> <p>&nbsp;</p> <p>&mdash;<a href="http://www.artslant.com/global/artists/show/216750-osman-can-yerebakan?tab=REVIEWS" target="_blank">Osman Can Yerebakan</a></p> <p><em>Osman Can Yerebakan is a writer and curator based in New York.</em></p> <p>&nbsp;</p> <p><span style="font-size:14px;">(Image at top: Exhibition view of Take Me (I&#39;m Yours) at The Jewish Museum, NY, September 16, 2016 &ndash; February 5, 2017. &copy;&nbsp;The Jewish Museum)</span></p> Wed, 07 Dec 2016 16:42:41 +0100 https://www.artslant.com/ny/Articles/list https://www.artslant.com/ny/Articles/list Retrogarde—The Threshold of History <p>In the initial stages of writing this piece, I penned a question: <em>What is the threshold of history?</em> It was the morning of November 9, 2016. The question concerned the boundary of public memory. The limit of how this memory is transformed into action. It was a question posed on a precipice, in both popular definitions of the term&mdash;between falling off the brink of one territory, and the inception of a new space. That was on November 9. A question about temporary suspension, the moment before one thing becomes the next. I think these qualities are obvious, but write them down anyway.</p> <p>Rollercoasters, hang time, being neutral.</p> <p>Politics has no memory.</p> <p>That was on November 9, a Wednesday. I was thinking about the avant-garde in advance of visiting an exhibition curated by <a href="https://www.artslant.com/chi/articles/show/46216-these-chicago-curators-are-expanding-the-cultural-conversation-from-the-inside-out" target="_blank">Yesomi Umolu</a> at the <a href="https://www.artslant.com/chi/venues/show/38080-reva-and-david-logan-center-for-the-arts---university-of-chicago" target="_blank">Logan Center for the Arts on the University of Chicago</a> campus. Its title is <a href="https://www.artslant.com/chi/events/show/434643-retrogarde" target="_blank"><em>Retrogarde</em></a>. I think about how I had read it wrongly from the press release weeks before, uttering instead &ldquo;<em>Retrograde</em>,&rdquo; and how this realization changes things. I think about the potentials of the correct title, and if they are even possible. I am uncertain yet hopeful. I think about how this sentiment of uncertainty is used in politics as rhetoric in place of feeling, and dislike the opacity of its purpose, but leave it in the piece anyway. To slip and utter &ldquo;Retrograde&rdquo; would indeed undo the delicate fabric woven of Umolu&rsquo;s concept&mdash;a movement that seeks not to cycle backward from a fixed position, but rather identify forward-looking ideas within the history of art, the avant-garde, to see how they might be adapted. I come to this conclusion on November 12 after I have seen the exhibition.</p> <p>The politics of everyday life have inherently changed.</p> <p>November 12. When I begin to feel bitter I write: this is exactly where the avant-garde belongs. I remove it from the piece. Then I write: this exhibition could not have been more timely.</p> <p>The six artists on view in <em>Retrogarde</em> &mdash; whether in their practice as a whole, or the work on view &mdash; stake the relevance, if not necessity, of unearthing how once unconventional practices might still prove useful in the echo chamber of contemporary art. I question how the archive of the avant-garde can maintain the masquerade of noncompliance within a contemporary context&mdash;its histories and strategies having been absorbed into the complicit necessity of a counter force within a capitalist structure. Disobedience is normalized. Among the natural and inevitable co-option of avant-garde traditions over the twentieth century, the packaging of the artists&rsquo; work within the exhibition takes on the institutional form of the precise object its source material once criticized. Housed within the galleries on the University of Chicago&rsquo;s campus, the work adheres to the standard conventions of an institutional encounter with contemporary art: expected, customary, routine. <s>This is exactly where the avant-garde belongs.</s> This exhibition could not have been more timely.</p> <p>The avant-garde exists only in resistance to something else; this is its political edge. Although, <em>defiance</em> is not the platform <em>Retrogarde</em> advances or innovates. Instead, the exhibition reimagines how the avant-garde has acted as a lineage and art historical source to contemporary practice. Despite the radical content of the works&rsquo; sources, Umolu does not upend the conventional systems of display or dissemination in favor of rebellion, or even propose that the work included within the exhibition is inherently political, so much as it is <em>politicized</em> through its relationship to current events. Something is still left unsaid.</p> <p>&nbsp;</p> <p style="text-align: center;"><img alt="" src="https://s3.amazonaws.com/media.artslant.com/userimages/32120/1dkh/20161206154551-Hysteresis-Select-04-1440x1080.jpg" /></p> <p style="text-align: center;"><span style="font-size:14px;">Samson Kambalu,&nbsp;<em>Nyau Cinema (Hysteresis)</em>, Installation view in <em>All the World&rsquo;s Futures</em>,&nbsp;56th Venice Biennale, 2015</span></p> <p style="text-align: center;">&nbsp;</p> <p><a href="http://www.katemacgarry.com/artists/samson-kambalu/" target="_blank">Samson Kambalu</a> is a Malawi-born, London-based artist and author. In <em>Field Work</em> (2016), short, sepia-hued silent films play on a loop, each reel separated by a text slide describing the singularly repetitive action on view. Belonging to the <a href="https://frieze.com/media/nyau-cinema-rules" target="_blank"><em>Nyau Cinema</em></a> series, which I first encountered in Okwui Enwezor&rsquo;s <a href="http://www.labiennale.org/en/art/archive/56th-exhibition/56/" target="_blank"><em>All the World&rsquo;s Futures</em></a> at the 2015 Venice Biennale, text installed on the wall in both instances defines the films&rsquo; terms in ten succinct rules: number 3 states&nbsp;<em>there must always be a conversation between performance and the medium of film</em>; number 6 qualifies<em> acting must be subtle but otherworldly, transgressive, and playful</em>. The film performs itself under every guise of early European cinema, but the footage betrays this appearance. Its anachronism emerges: in <em>Nude Ascending a Staircase</em> (2016), a black man without clothes, save for tube socks and sneakers, runs up a domestic wooden staircase, disappearing out of view after turning on the landing, only to start from the bottom again. A figure trapped in endless ascension. In <a href="https://www.youtube.com/watch?v=FZ-xOgV5XNE" target="_blank"><em>He Walked on Water</em></a> (2016), the film splices the artist jumping to capture the figure solely with his feet at the same level of, or higher than, the water&mdash;hovering above the sea, frenetically and tenuously balanced on its surface. A similar infinity. How quickly the brevity of repetition reaches the feeling of forever.</p> <p>&nbsp;</p> <p style="text-align: center;"><img alt="" src="https://s3.amazonaws.com/media.artslant.com/userimages/32120/1dkh/20161206154734-RAINER1.jpg" /></p> <p style="text-align: center;"><span style="font-size:14px;">Matthew Metzger, <em>Collapse, Movement 1</em>, 2014. Image courtesy of Arratia Beer, Berlin and Regards, Chicago&nbsp;</span></p> <p style="text-align: center;">&nbsp;</p> <p>In Matthew Metzger&rsquo;s <em>Collapse, Movement 2</em> and <em>Collapse, Movement 3 </em>(2016), two nearly identical paintings hang opposite one another, as if mirrored. The image, which is brushed in quickly, yet photo-representational, is rendered from a still in Yvonne Rainer&rsquo;s seminal 1966 performance <a href="https://www.youtube.com/watch?v=TDHy_nh2Cno" target="_blank"><em>Trio A</em></a>&mdash;lifted from one minor second (approx. 2:42) where Rainer is caught mid turn, staring at the sky amid the uninterrupted motions, routines, and gestures that comprise the film. Her back is on the floor, her legs are placed one above the other outstretched, her hands lax by her side, fingers curled, the floor spans out like the horizon of a sea. She floats heavily.</p> <p>The threshold of history is a film spread thinly across a chronological archive. Beneath the surface, events across time and space rearrange themselves, rising to the top or sinking down, as their philosophical relevance becomes ripe for use as source material.</p> <p>Throughout <em>Trio A</em>, climax is replaced by continuity. This concept of a continuous gesture&mdash;stretching an ideological position into an aesthetic possibility for new work&mdash;is in many ways the language of this exhibition, especially in regard to performance. Catherine Sullivan&rsquo;s <a href="https://vimeo.com/22264277" target="_blank"><em>&lsquo;Tis Pity She&rsquo;s a Fluxus Whore</em></a> (2003) restages actions done for the Festival of New Art (Technical Academy, Aachen, Germany, July 20 1964) where the gathering of twelve artists&mdash;including Joseph Beuys, Robert Filliou, and Wolf Vostell&mdash;were met with hostile reception by the audience for the political/unconventional content of the acts. The two-channel video features actors executing the original performances, but is foiled through the direction of the film, shot in the style of a seventeenth-century Jacobean drama. Sullivan&rsquo;s practice emerges as a hybrid of performance and cinema; her interaction with the avant-garde is two-fold&mdash;first, of course, in the sampling of Fluxus content, but second, in marrying the dominant and marginal methods of viewing performance itself: video art and theater.</p> <p>&nbsp;</p> <p style="text-align: center;"><iframe allowfullscreen="" frameborder="0" height="394" mozallowfullscreen="" src="https://player.vimeo.com/video/22264277?color=ffffff&amp;title=0&amp;byline=0&amp;portrait=0" webkitallowfullscreen="" width="700"></iframe></p> <p style="text-align: center;"><span style="font-size:14px;"><em><a href="https://vimeo.com/22264277" target="_blank">&#39;Tis Pity She&#39;s a Fluxus Whore</a></em> from <a href="https://vimeo.com/user5758694" target="_blank">Catherine Sullivan</a></span></p> <p style="text-align: center;">&nbsp;</p> <p>The two channels unfold in near synchronicity, side by side. The voiceover combines texts from the original John Ford play, &rsquo;<em>Tis Pity She&rsquo;s a Whore</em> (1633), with narrative cues from the 1964 actions. In one scene, a recreation of what appears to be a series of circumstances by French artist Robert Filliou, the narrator states in succession:</p> <p style="margin-left: 80px;"><em>To address us in a manner of imitating Hitler, Stalin, and Mussolini requires too much intellectual agility.</em><br /> <em>The comparison of the nude pictorial with a battle plan requires too much intellectual agility.</em><br /> <em>This extreme polarity between the obvious and the enigmatic requires too much intellectual agility.</em><br /> <em>Paint flowing from boxes colored like the French flag is messy and requires too much intellectual agility.</em></p> <p>At this last statement, the actor in both channels walks along large boxes placed on the stage&mdash;blue, red, white&mdash;and tilts the boxes, one by one, so that the hole in each pours the colored liquid onto his hand. The red, white, and blue paint swirls, dripping onto the floor, mixing in his palm: the French flag. The temporary suspension before one object transforms into the next. At this precise moment, the efficacy of the avant-garde slipped through the divide between past and present, unbound by time.</p> <p>This was on November 12 (which was after November 9) and no one in the film spoke about an American flag. The chance calculation of these three colors in action, each contaminating the next, set off the unrehearsed trigger of pathetic fallacy, which rose quite easily to the surface on the threshold of history. While disobedience may be normalized, it is still severely present.</p> <p>&nbsp;</p> <p><strong>&mdash;</strong><a href="http://www.artslant.com/global/artists/show/183982-stephanie-cristello?tab=REVIEWS" target="_blank">Stephanie Cristello</a></p> <p><em>Stephanie Cristello is a Senior Editor at ArtSlant.</em></p> <p>&nbsp;</p> <p><span style="font-size:14px;">(Image at top: Catherine Sullivan, &rsquo;<em>Tis Pity She&#39;s a Fluxus Whore</em><em>, </em>2003. Image courtesy the artist and Galerie Catherine Bastide)</span></p> Wed, 07 Dec 2016 12:48:19 +0100 https://www.artslant.com/ny/Articles/list https://www.artslant.com/ny/Articles/list Under the Radar: Sean Fader | Bianca Pratorius | Michele A. Utley Voigt <table style="width: 100%;"> <tbody> <tr> <td> <table align="center" border="0" style="width: 100%;"> <tbody> <tr> <td> <p><span style="font-size: medium;"><em><span style="font-family: georgia, palatino; line-height: 24px;">ArtSlant is an open Arts community with over 200,000 free, user-generated <a href="http://www.artslant.com/ny/intros/plans?utm_source=Radar&amp;utm_medium=image&amp;utm_campaign=Subs" style="color: #097ff5; text-decoration: none;">artist profiles</a>. The support of our community is an essential part of our mission &mdash; from our <a href="http://www.artslant.com/ny/articles/editorial?utm_source=Radar&amp;utm_medium=image&amp;utm_campaign=Mag" style="color: #097ff5; text-decoration: none;">magazine</a> to our <a href="http://www.artslant.com/ny/articles/show/33747" style="color: #097ff5; text-decoration: none;">residency</a> and <a href="http://www.artslant.com/ny/articles/show/8456?utm_source=Radar&amp;utm_medium=image&amp;utm_campaign=Prize" style="color: #097ff5; text-decoration: none;">prize</a>. Every week our editors select the best artist profiles from under the radar. This week we select artists exhibiting at the conflagration that is <a href="https://www.artslant.com/ew/articles/show/46927-the-miami-art-fairs-heres-what-you-need-to-know" style=" color: #097ff5; text-decoration: none;" target="_blank">Miami Art Week</a>.</span></em></span></p> <p><span style="font-size: medium;"><em><span style="font-family: georgia, palatino; line-height: 24px;">Follow your favorite artists to see new work and exhibitions by adding them to your <a href="http://www.artslant.com/global/articles/show/11143" style="color: #097ff5; text-decoration: none;">watchlist.</a></span></em></span></p> <hr /> <p><span face="georgia, palatino" size="4" style="text-decoration: none; font-family: georgia, palatino; font-size: large;"><a href="https://www.artslant.com/global/artists/show/42469-sean-fader?utm_source=SeanFader&amp;utm_medium=image&amp;utm_campaign=Radar" style="color: #097ff5; text-decoration: none;">Sean Fader &ndash; New York City</a>, performing at&nbsp;<a href="http://satellite-show.com/" style="color: #097ff5; text-decoration: none;" target="_blank">Satellite Art Show</a></span></p> <p><a href="https://www.artslant.com/ny/works/show/237502?utm_source=v&amp;utm_medium=image&amp;utm_campaign=Radar"><img src="https://s3.amazonaws.com/media.artslant.com/work/image/237502/u3azr9/I_Want_To_Put_You_On__Raini.jpg" style="display: block; margin-left: auto; margin-right: auto;" width="100%" /></a></p> <table width="100%"> <tbody> <tr> <td style="padding 0px;" width="33%"><a href="https://www.artslant.com/ny/works/show/237545?utm_source=SeanFader&amp;utm_medium=image&amp;utm_campaign=Radar"><img src="https://s3.amazonaws.com/media.artslant.com/work/image/237545/y8wnrh/I_Want_To_Put_You_On__Gus__with_Maxie_.jpg" width="100%" /></a></td> <td style="padding 0px;" width="33%"><a href="https://www.artslant.com/ny/works/show/237546?utm_source=SeanFader&amp;utm_medium=image&amp;utm_campaign=Radar"><img src="https://s3.amazonaws.com/media.artslant.com/work/image/237546/y8wnrh/I_Want_To_Put_You_On__Marshall.jpg" width="100%" /></a></td> <td style="padding 0px;" width="33%"><a href="https://www.artslant.com/ny/works/show/237548?utm_source=SeanFader&amp;utm_medium=image&amp;utm_campaign=Radar"><img src="https://s3.amazonaws.com/media.artslant.com/work/image/237548/y8wnrh/I_Want_To_Put_You_On__louise.jpg" width="100%" /></a></td> </tr> </tbody> </table> <hr /> <p><span face="georgia, palatino" size="4" style="text-decoration: none; font-family: georgia, palatino; font-size: large;"><a href="https://www.artslant.com/global/artists/show/397067-michele-a-utley-voigt?utm_source=MicheleVoigt&amp;utm_medium=image&amp;utm_campaign=Radar" style="color: #097ff5; text-decoration: none;">Michele A. Utley Voigt &ndash; Malibu, CA</a>, exhibiting at <a href="http://spectrum-miami.com/" style="color: #097ff5; text-decoration: none;" target="_blank">Spectrum Art Fair</a></span></p> <p><a href="https://www.artslant.com/ny/works/show/989478?utm_source= MicheleVoigt&amp;utm_medium=image&amp;utm_campaign=Radar"><img src="https://s3.amazonaws.com/media.artslant.com/work/image/989478/u3azr9/20160522143052-Voigt_lamedelafemme_36x36oiloncanvas_2016.jpg" style="display: block; margin-left: auto; margin-right: auto;" width="100%" /></a></p> <table width="100%"> <tbody> <tr> <td style="padding 0px;" width="33%"><a href="https://www.artslant.com/ny/works/show/989480?utm_source= MicheleVoigt&amp;utm_medium=image&amp;utm_campaign=Radar"><img src="https://s3.amazonaws.com/media.artslant.com/work/image/989480/y8wnrh/20160522144103-Voigt_OThusSheStood_OilonLinen_72x48.jpg" width="100%" /></a></td> <td style="padding 0px;" width="33%"><a href="https://www.artslant.com/ny/works/show/858349?utm_source= MicheleVoigt&amp;utm_medium=image&amp;utm_campaign=Radar"><img src="https://s3.amazonaws.com/media.artslant.com/work/image/858349/y8wnrh/20141006161545-premiere_en_rouge_1.jpg" width="100%" /></a></td> <td style="padding 0px;" width="33%"><a href="https://www.artslant.com/ny/works/show/994959?utm_source= MicheleVoigt&amp;utm_medium=image&amp;utm_campaign=Radar"><img src="https://s3.amazonaws.com/media.artslant.com/work/image/994959/y8wnrh/20160621154508-Voigt_Margins0.5_OilonLinen_72Hx48W.jpg" width="100%" /></a></td> </tr> </tbody> </table> <hr /> <p><span face="georgia, palatino" size="4" style="text-decoration: none; font-family: georgia, palatino; font-size: large;"><a href="https://www.artslant.com/global/artists/show/206077-bianca-pratorius?tab=PROFILE?utm_source=BiancaPratorius&amp;utm_medium=image&amp;utm_campaign=Radar" style="text-decoration: none; color: #097ff5;">Bianca Pratorius &ndash; Miami</a>, exhibiting at <a href="https://superfine.world/#superfine-1" style="color: rgb(9, 127, 245); text-decoration: none;" target="_blank">Superfine</a></span></p> <p><a href="https://www.artslant.com/ny/works/show/937703?utm_source= BiancaPratorius&amp;utm_medium=image&amp;utm_campaign=Radar"><img src="https://s3.amazonaws.com/media.artslant.com/work/image/937703/u3azr9/20150914182423-Unfolded__19_300dpi.jpg" style="display: block; margin-left: auto; margin-right: auto;" width="100%" /></a></p> <table width="100%"> <tbody> <tr> <td style="padding 0px;" width="33%"><a href="https://www.artslant.com/ny/works/show/937697?utm_source= BiancaPratorius&amp;utm_medium=image&amp;utm_campaign=Radar"><img src="https://s3.amazonaws.com/media.artslant.com/work/image/937697/y8wnrh/20150914181851-Unfolded__27_360dpi.jpg" width="100%" /></a></td> <td style="padding 0px;" width="33%"><a href="https://www.artslant.com/ny/works/show/840654?utm_source= BiancaPratorius&amp;utm_medium=image&amp;utm_campaign=Radar"><img src="https://s3.amazonaws.com/media.artslant.com/work/image/840654/y8wnrh/20140813201322-It_300dpi.jpg" width="100%" /></a></td> <td style="padding 0px;" width="33%"><a href="https://www.artslant.com/ny/works/show/671986?utm_source= BiancaPratorius&amp;utm_medium=image&amp;utm_campaign=Radar"><img src="https://s3.amazonaws.com/media.artslant.com/work/image/671986/y8wnrh/20130308214029-Hive_2_72dpi.jpg" width="100%" /></a></td> </tr> </tbody> </table> <p style="text-align: center;">&nbsp;</p> <hr /> <p style="text-align: center;"><em><span style="font-family: georgia, palatino; font-size: medium; line-height: 24px;">ArtSlant supports thousands of contemporary artists through our outreach and exposure programs&mdash;come join the best online arts community today!</span></em></p> <p style="text-align: center;">&nbsp;</p> <table> <tbody> <tr> <td style="padding 0px;" width="25%"><a href="http://www.artslant.com/ny/articles/show/8456?utm_source=Radar&amp;utm_medium=image&amp;utm_campaign=Prize"><img src="http://dbprng00ikc2j.cloudfront.net/userimages/84518/3mfh/20160210150305-prize-radar-logo-2016.jpg" width="100%" /></a></td> <td style="padding 0px;" width="25%"><a href="http://www.artslant.com/ny/articles/show/33747?utm_source=Radar&amp;utm_medium=image&amp;utm_campaign=Residency"><img src="http://dbprng00ikc2j.cloudfront.net/userimages/84518/3mfh/20150605182447-residency-logo-300.jpg" width="100%" /></a></td> <td style="padding 0px;" width="25%"><a href="https://www.amazon.com/s?marketplaceID=ATVPDKIKX0DER&amp;me=A2JPU387EQQ9HR&amp;merchant=A2JPU387EQQ9HR&amp;redirect=true" style="font-family: georgia, palatino;"><img src="http://dbprng00ikc2j.cloudfront.net/userimages/84518/3mfh/20150605182634-sales-room-200-logo.jpg" width="100%" /></a></td> <td style="padding 0px;" width="25%"><a href="http://www.artslant.com/ny/intros/plans?utm_source=Radar&amp;utm_medium=image&amp;utm_campaign=Subs"><span style="font-family: georgia, palatino;"><img src="http://dbprng00ikc2j.cloudfront.net/userimages/84518/3mfh/20150605182549-profile-subscriptions-logo-300.jpg" width="100%" /></span></a></td> </tr> </tbody> </table> </td> </tr> </tbody> </table> </td> </tr> </tbody> </table> Mon, 05 Dec 2016 18:50:14 +0100 https://www.artslant.com/ny/Articles/list https://www.artslant.com/ny/Articles/list A View of Miami Art Week from a Slumpie (and a Smartphone) <p>Is it really necessary to physically be present at an art fair anymore to see the art in it? If I&rsquo;m honest, the best place for me to view a fair is scrolling comfortably through Instagram on my phone, in my bed. I&rsquo;ve curated a bubble for myself, following galleries, artists, and internet personas who do all the work for me. Oftentimes I find that the art looks better online than it does in person, well-photographed and Photoshopped as it is, or because of the allure the persona attached to the post brings. But I am still here, in Miami for Art Week, physically participating in the viewing, making it through traffic, parking, and lines before the marathon of visiting as many booths as my eyes can bear. Soon enough all the art begins to blur and it becomes increasingly difficult to find something that stands out, let alone focus your attention on. Not because the work is bad necessarily, but because there is an overabundance of it.</p> <p>This is what led me to Miami-based artist <a href="https://www.artslant.com/global/artists/show/172511-jillian-mayer" target="_blank">Jillian Mayer&rsquo;s</a> <a href="http://www.slumpi.es/" target="_blank"><em>Slumpies</em></a><em>. </em>My feet were aching and I found myself at a point of oversaturation. I had maxed out on conversation and needed a break from everything external. The half-week-long bombardment of content the city endures during Miami Art Week is impossible to keep up with. There are some <a href="https://www.artslant.com/mia/articles/show/46927-the-miami-art-fairs-heres-what-you-need-to-know" target="_blank">25 art fairs</a>, not to mention the musical events, gallery openings, talks, after-parties, and hangovers that accompany them.</p> <p>A <em>Slumpie </em>was exactly what I needed.</p> <p>&nbsp;</p> <p style="text-align: center;"><img alt="" src="https://s3.amazonaws.com/media.artslant.com/userimages/32120/1dkh/20161205160538-photo_4.JPG" /></p> <p style="text-align: center;"><span style="font-size:14px;"><em>Slumpies</em></span></p> <p>&nbsp;</p> <p>It&rsquo;s a piece of public furniture designed to accommodate the body while using a smartphone, eliminating the awkward <em>slumping</em> that typically occurs when the body is unsupported; consider it an adult cradle. The similarities between the Art Fair Industrial Complex and the internet are interesting, especially in relation to Jillian Mayer&rsquo;s <em>Slumpies</em>. For both, the &ldquo;content feed&rdquo; is endless. This week in Miami, it&rsquo;s like the internet of the art world came to life: most literally with happenings like the live 360-degree VR event, <a href="http://files.artsy.net/documents/artsy-announces-collective-reality.pdf" target="_blank"><em>Collective Realities</em></a>, presented by the online art database Artsy, Soundcloud, and Gucci, and featuring site-specific works by new media and internet artists <a href="https://www.artslant.com/global/artists/show/260879-rachel-rossin" target="_blank">Rachel Rossin</a>, <a href="https://www.artslant.com/global/artists/show/30746-jacolby-satterwhite" target="_blank">Jacolby Satterwhite</a>, and <a href="https://www.artslant.com/global/artists/show/65258-jon-rafman" target="_blank">Jon Rafman</a>; but also more figuratively, as all the artists and galleries I follow online were in attendance (evident by their Instagram posts, of course).</p> <p>Mayer&rsquo;s <em>Slumpies</em> are an ouroboros expressive of this virtual and physical omnipresence. The internet and the art world pass in and out of these bulky, odd, lounge-esque shapes as people engage at once with their phones and the glittery forms they perch upon. These sculptural setees are a stage for spectator performance: I witnessed many people trying to figure out how to properly engage with the <em>Slumpies</em>, and, once they worked it out, I saw the same people requesting others to photograph them using the artworks. In real time, I refreshed the hashtag &ldquo;<a href="https://www.instagram.com/explore/tags/slumpies/" target="_blank">#slumpies</a>&rdquo; on Instagram and saw new images appearing in the search. It was nice to see some locals and non-art world figures included among the images&mdash;in contrast to the hedonistic posts flooding my feed by some artists at parties who really embraced the exclusivity of the fairs and the decadence that has been marketed to them.</p> <p>&nbsp;</p> <p style="text-align: center;"><img alt="" src="https://s3.amazonaws.com/media.artslant.com/userimages/32120/1dkh/20161205155527-Screen_Shot_2016-12-05_at_1.47.24_PM.png" /></p> <p style="text-align: center;"><span style="font-size:14px;">#slumpies on Instagram</span></p> <p>&nbsp;</p> <p>The context for the work is perfect. It probes at the limitations of the body-as-spectator in the digital age and baits us into succumbing to our dependence on technology and propensity for finding an isolated distance from the physical world when we&rsquo;re supposed to be socializing in it. Resting in a <em>Slumpie</em>, I wondered to myself, <em>why hasn&rsquo;t this been invented before?</em>: our postures and social behaviors have been changing due to the vast amount of time we spend hunched over our phones daily. Faced with the works, I felt self-conscious and conflicted about my anxieties and the respite that my smartphone offers me from them. Still, there was something humorous about it all. With their colorful, lo-fi realness, the <em>Slumpies</em> are playful and comical, welcoming my uneasiness and assuaging it.</p> <p>The awkwardness of their appearance seems intentional. They are perfectly functional, if a little uncomfortable, but maybe I wasn&rsquo;t resting on one that was made for my height or maybe I wasn&rsquo;t resting on it as intended. If it weren&rsquo;t for the two &ldquo;<a href="http://www.slumpi.es/demos-1" target="_blank">commercials</a>&rdquo;&mdash;instructional videos included in the installation&mdash;the sculptures could easily have been confused for abstract objects and it is likely people wouldn&rsquo;t have interacted with them at all.</p> <p>&nbsp;</p> <p style="text-align: center;"><iframe allowfullscreen="" frameborder="0" height="394" src="https://www.youtube.com/embed/9unhsHoIJ5k?rel=0&amp;controls=0" width="700"></iframe></p> <p>&nbsp;</p> <p>Eight<em> Slumpies </em>can be found at three locations in Miami and Miami Beach combined. Two are included in the <a href="http://www.theinvisiblecollection.com/all-stories-2/the-invisible-collection-at-art-basel-miami-beach/" target="_blank">12th edition of <em>Chambre &agrave; Part</em> entitled <em>Life is beautiful</em></a><em>,</em> a group show in Miami Beach, and six are located at the <a href="http://www.pamm.org/exhibitions/jillian-mayer-slumpies" target="_blank">P&eacute;rez Art Museum Miami</a>, three on the outdoor terrace, where I rested, and three indoors in the Vattikuti Learning Theater on the museum&rsquo;s first floor.</p> <p>Some editions of the sculptures include wifi and phone charging stations, including those currently on display at the <a href="https://atlantacontemporary.org/exhibitions/atlbnl" target="_blank">Atlanta Biennial</a> and in New York in the lobby of 125 Maiden Lane courtesy of Art-in-Buildings, alongside works by <a href="https://www.artslant.com/global/artists/show/9955-adam-parker-smith" target="_blank">Adam Parker Smith</a> for the <a href="http://teiartinbuildings.com/exhibitions/group/82" target="_blank"><em>Social Structures</em></a> exhibition.</p> <p style="text-align: center;">&nbsp;</p> <p style="text-align: center;"><img alt="" src="https://s3.amazonaws.com/media.artslant.com/userimages/32120/1dkh/20161205160258-unnamed__1_.jpg" /></p> <p style="text-align: center;"><em><span style="font-size: 14px;">IMPRESSIONS</span></em></p> <p style="text-align: center;">&nbsp;</p> <p>Mayer, a Miami native, is exhibiting other work across the country right now as well, like <a href="http://www.basfisherinvitational.com/November-16-Impressions-by-Jillian-Mayer-LA-NY" target="_blank"><em>IMPRESSIONS</em></a>&mdash;a bi-coastal billboard campaign recently launched in Los Angeles and New York, which presents an image of the artist with various biometric points mapped across her face and a poem that examines what it means for the human body to be algorithmically legible. The billboards, like the <em>Slumpies, </em>and other free and public presentations such as <a href="https://www.youtube.com/watch?v=YfY1lfFu8j8" target="_blank"><em>I am Your Grandma</em></a>, included in Art Basel&rsquo;s Short Film program,&nbsp;<a href="https://www.artbasel.com/miami-beach/events/detail/4104" target="_blank"><em>Best Dressed Chicken in Town</em></a>, and <a href="http://miami.carpediem.cd/events/1929257-day-off-dome-at-faena-miami-beach/" target="_blank"><em>Day Off Dome</em></a> at Faena Miami&rsquo;s pop-up planetarium on the beach, question the relationship between the body, technology, and how rhetorical tools of marketing inform identity and behavior. Mayer understands what it means to be calculable, using this knowledge to subvert marketing strategies in sincere favor of the consumer, creating and highlighting a space in the public realm for a kind of comfort that is typically reserved for the private.</p> <p>&nbsp;</p> <p style="text-align: center;"><img alt="" src="https://s3.amazonaws.com/media.artslant.com/userimages/32120/1dkh/20161205155859-IMG_9577.JPG" /></p> <p style="text-align: center;"><span style="font-size:14px;"><em>Slumpies</em> at PAMM. Photo: the author</span></p> <p>&nbsp;</p> <p>It&rsquo;s fitting that the sculptures are unconcerned with the aesthetics of sleek and minimal design, and that they&rsquo;re free to use&mdash;in stark contrast to the posturing of the Art Fair Industry, which demands exorbitant entrance fees simply to see, as often as not, commercial design objects&mdash;rather than contemporary art objects&mdash;like Felipe Barbosa&rsquo;s sculpture <a href="https://www.instagram.com/p/BNco18yA74k/" target="_blank"><em>Swing</em></a><em>, </em>at Scope, a work made entirely of golf clubs, that appears to be marketed to country club owners or golfers. Art Week had fewer free venues than ever this year&mdash;Ink Miami, Fridge, and Art Beat being the exceptions&mdash;while the majority of fairs such as Art Basel, Art Miami, and CONTEXT market exclusivity, appealing to big buyers with high-priced work, secret after parties, and tiered VIP access.</p> <p>In another context, the <em>Slumpies</em> might read as a critical commentary on our rampant smartphone use. But during Miami Art Week, Mayer&rsquo;s satirical sculptures can also be seen as a homegrown response to seasonal invaders, offering a utilitarian escape from the luxury-driven marketplace where VIP &ldquo;pay-to-play&rdquo; culture excludes the local middle class. Mayer mediates our desires to be alone and connected at once; she encourages us to settle in, log on, to consume and be consumed by the art world, bypassing the gatekeepers who surround us.</p> <p>&nbsp;</p> <p>&mdash;Audrey L. Phillips</p> <p><em>Audrey Phillips is a Toronto-based writer. She is a regular contributor to AQNB.</em></p> <p>&nbsp;</p> <p><span style="font-size:14px;">(Image at top: <em>Slumpies</em>. Courtesy of the artist)</span></p> Mon, 05 Dec 2016 18:37:01 +0100 https://www.artslant.com/ny/Articles/list https://www.artslant.com/ny/Articles/list Wednesday Web Artist of the Week: Miyö Van Stenis <p><a href="http://miyovanstenis.com/">Miy&ouml; Van Stenis</a> is a Venezuelan new media artist currently based in France. Her work explores of the ubiquity and influence of technology, often seen through a strong socio-political lens. An interest in political themes, frequently related to her home country, gives her work an uncommon and vital weight in the world of new media art. In turn, by presenting these themes through digital and web-based interfaces her work has a unique relatability that other mediums might struggle to achieve.</p> <p>Van Stenis&rsquo; work is included in two shows at <a href="http://satellite-show.com/" target="_blank">Satellite</a> art fair during <a href="https://www.artslant.com/mia/articles/show/46927-the-miami-art-fairs-heres-what-you-need-to-know" target="_blank">Art Basel Miami Beach</a> this week: <a href="http://digitalmuseumof.digital/art/" target="_blank">The Digital Museum of Digital Art</a> (DiMoDa)&rsquo;s exhibition, <em><a href="http://transfergallery.com/dimoda-satellite-art-show-miami/" target="_blank">Tour</a></em>, and<em> <a href="https://vimeo.com/185201907" target="_blank">Morph&eacute; Presence</a></em>, presented in the lounge of the Parisian Hotel in South Beach.</p> <p>I asked her about her thoughts on Miami and art fairs as promoters of new media art and what it was like curating the first purely new media art exhibition in Venezuela.</p> <p>&nbsp;</p> <p style="text-align: center;"><img alt="" src="https://s3.amazonaws.com/media.artslant.com/userimages/32120/1dkh/20161130214434-12F.gif" /></p> <p style="text-align: center;">&nbsp;</p> <p><strong>Christian Petersen: You are from Caracas but you live in Paris. Why did you move there?</strong></p> <p><strong>Miy&ouml; Van Stenis:</strong> I moved for political reasons in 2014, when things in Venezuela started to get very difficult after Hugo Chavez&rsquo;s death. I had to ask myself if I wanted to have a future and be free or be complacent in front of a totalitarian government. I decided to turn my work into a witness of what is happening back home and be free, no matter the price of becoming a refugee.</p> <p><strong>CP: What was your first experience of using a computer?</strong></p> <p><strong>MVS:</strong> I&rsquo;ve had a computer since I was six years old so I&rsquo;m very familiar and comfortable with technology. Ever since I can remember my family were very into computers, video games, internet, etc. So we always have this natural and weird connection with technology&mdash;it&#39;s a family bond.</p> <p>&nbsp;</p> <p style="text-align: center;"><img alt="" src="https://s3.amazonaws.com/media.artslant.com/userimages/32120/1dkh/20161130214528-clickcka.TK.gif" /></p> <p>&nbsp;</p> <p><strong>CP: When did it first occur to you that you could make art using a computer? Were there any specific</strong> <strong>artists or artworks that inspired you?</strong></p> <p><strong>MVS:</strong> I guess that all started in the first year of college. I knew from the beginning that I was only going to be good enough with digital art so I choose that without knowing what I was going to do. It was mostly because I didn&rsquo;t, and still don&rsquo;t, feel a sense of being capable of creating with other type of tools. Creation depends a lot on what you find comfortable enough to let your feelings express themselves.</p> <p>I was 17 years old when a friend show me the ASCII works of <a href="http://www.ljudmila.org/~vuk/" target="_blank">Vuk Cosic</a> as a joke&mdash;it was an interpretation of the film <em>Deep Throat</em>, but that work blew my mind. After, I found Jodi and <a href="http://rhizome.org/community/41861/" target="_blank">Alexei Shulgin</a> and everything started to make sense, I realized that it was the right path.</p> <p><strong>CP: When did you first hear the phrase &ldquo;new media art,&rdquo; and what does that phrase mean to you?</strong></p> <p><strong>MVS:</strong> The first time that I read/heard that phrase/discipline was studying <a href="http://manovich.net/" target="_blank">Lev Manovich</a> and <a href="http://www.joseluisbrea.es/" target="_blank">Jos&eacute; Luis Brea</a>. But for me, new media art is just a discipline related with types of technology, like painting and photography [are disciplines]. It doesn&rsquo;t give me any specific direction when I&rsquo;m working.</p> <p style="text-align: center;"><img alt="" src="https://s3.amazonaws.com/media.artslant.com/userimages/32120/1dkh/20161130213515-6.gif" /></p> <p>&nbsp;</p> <p><strong>CP: What was the first new media art you made?</strong></p> <p><strong>MVS:</strong> My first Net.Art work was <em><a href="http://miyovanstenis.com/blog/m_m-my-first-net-art-work/" target="_blank">m_m</a></em> from 2009 which used Flash. I still love it, mostly because everything there happened as an accident and still works well. At that time I knew how to code, but I didn&rsquo;t know what I was going with do or that I was going to get hooked on Net.Art.</p> <p><strong>CP: Why are you so inspired so deeply by the digital world and the internet?</strong></p> <p><strong>MVS:</strong> I found in new media art and internet, as a medium, total freedom to develop projects sometimes with less complications, less mediators. Internet is not regulated by institutions or a specific, necessary public so there&rsquo;s a large spectrum to play with. Everything can inspire me: nature, politics, a book... it depends on my daily experience.</p> <p>&nbsp;</p> <p style="text-align: center;"><img alt="" src="https://s3.amazonaws.com/media.artslant.com/userimages/32120/1dkh/20161130214348-Copia-de-The-Revolution-selfie.jpg" /></p> <p>&nbsp;</p> <p><strong>CP: What&rsquo;s the new media scene like in France? Are there any specific people or galleries</strong> <strong>that are supporting the movement?</strong></p> <p><strong>MVS:</strong> You should check David Pole, with his <a href="http://www.databit.me/" target="_blank">Databitme</a> Festival at Arles, in the south of France and <a href="http://www.mediaartdesign.net/indexEN.html" target="_blank">Dominique Moulont</a>, with the <a href="http://www.variation.paris/" target="_blank">Variation Paris Media Art Fair</a> in Paris.</p> <p><strong>CP: You are also a curator, what was the first show you curated and what was your favorite</strong> <strong>show that you curated?</strong></p> <p><strong>MVS:</strong> The first exhibition I curated was in 2010, called <em>Lado B</em> (Side B). It was an invitation from the Venezuelan artist and dear friend Jorge Mitzuro da Silva. We had the chance to use the space of the principal library in one of the most important universities of our country, Sim&oacute;n Bol&iacute;var University, which specialized in engineering and sciences.</p> <p>My favorite curatorial exhibition will be always <a href="http://mvs.260mb.com/larevuelta.html?i=1" target="_blank"><em>DOB: The Revolt </em>in 2011</a>. It was the first pure new media art exhibition in Venezuela. I took a big risk of showing an art movement that not even my teachers at my Alma Mater understood. I selected Glitch artist such as Rosa Menkman, Bill Miller, Nicolas Maigret, and more. I pushed the young generation of Venezuelan artists, to show a type of art that didn&rsquo;t have any space in our museums or in the art scene. I searched like crazy for the people that were doing Net art, Sound art, etc. It was pure digital&mdash;no objects in the room&mdash;and even the catalog was made on Pure Data. Nobody believed in or understood what I was doing or why I was doing it. A lot people just closed the door on my nose and told me that it wasn&rsquo;t art.</p> <p>I did it because I was feeling frustrated that there wasn&rsquo;t a space for us and I&rsquo;m glad I did it. After that show, my generation of artists started creating spaces instead of waiting for an opportunity.</p> <p>&nbsp;</p> <p style="text-align: center;"><img alt="" src="https://s3.amazonaws.com/media.artslant.com/userimages/32120/1dkh/20161130213856-GIF.mode.gif" /></p> <p>&nbsp;</p> <p><strong>CP: What are the particular challenges of being a new media curator compared to a &ldquo;traditional&rdquo; curator?</strong></p> <p><strong>MVS:</strong> I believe it&#39;s the same passion: in both you have to be very creative, think about the space and presentation of each specific project, and of course have a critical eye! You have to be sure of the selection of artist/work involved.</p> <p><strong>CP: How did you become involved in SPAMM and The Wrong &ndash; New Digital Art Biennale?</strong></p> <p><strong>MVS:</strong> Thanks to the internet. I got in contact with Micha&euml;l Borras (aka Systaime) and David Quiles Guiro online, and after a while chatting, we started working together. I believe these projects are important because they give validation like institutions (museums, galleries, etc). It&#39;s not less or more important because they&rsquo;re based on internet, but it&#39;s evident that for new media artists these alternative spaces need to grow and have budgets to pay artists. Working as a public or private institution will do that.</p> <p>&nbsp;</p> <p style="text-align: center;"><iframe allowfullscreen="" frameborder="0" height="394" mozallowfullscreen="" src="https://player.vimeo.com/video/185201907?title=0&amp;byline=0&amp;portrait=0" webkitallowfullscreen="" width="700"></iframe></p> <p style="text-align: center;"><span style="font-size:14px;"><a href="https://vimeo.com/185201907" target="_blank">DiMoDA 2.0 : Morph&eacute; Presence Beta trailer</a></span></p> <p>&nbsp;</p> <p><strong>CP: Tell us a little about the show you are part of in Miami.</strong></p> <p><strong>MVS:</strong> The show in Miami is part of DiMoDa&rsquo;s exhibition <em>Tour</em>. The second exhibition, <em>Morph&eacute; Presence</em> is on view at Sstellite&rsquo;s main lobby lounge. The project will have upcoming installations in Geneva, New York, Basel, Paris, and the<a href="https://www.facebook.com/RISDMuseum/" target="_blank"> RISD Museum</a> in Rhode Island. I&rsquo;m involved thanks to the invitation of Helena Acosta, one of the curators of <em>Morph&eacute; Presence</em>. I have never participated in Miami Art Week before&mdash;normally I&rsquo;m not a &ldquo;fairs&rdquo; or &ldquo;galleries&rdquo; artist. I&rsquo;m not yet involved in those types of institutions, but I guess all types of exposures are positive.</p> <p>&nbsp;</p> <p style="text-align: center;"><img alt="" src="https://s3.amazonaws.com/media.artslant.com/userimages/32120/1dkh/20161130213941-Diosa_Premiun_Front.jpg" /></p> <p>&nbsp;</p> <p><strong>CP: What does being at Miami Basel mean to a new media artist and to new media art in general?</strong> <strong>What do think the current status is of new media art in the wider/ traditional art world?</strong></p> <p><strong>MVS:</strong> There&rsquo;s still a long way to go so that new media art shares the same status as the more traditional disciplines, especially with the commercialization of the art work.</p> <p>When Helena Acosta and I proposed to present <a href="http://beautifulinterfaces.org/" target="_blank">Beautiful Interfaces: the privacy paradox</a> as a private network with potential to sell, we were asking ourselves how we can commercialize art in a format that is part of that new media art culture. So the idea of presenting each artist in a hacked router or private network was to bet on the commercialization of new media art. Being involved in Art Basel, Satellite, or any type of fair, introduces the artist to the market, makes it accessible to collectors. I don&rsquo;t believe that this type of exposure necessarily has a great impact in the discipline, per se, or in the artist&rsquo;s work.</p> <p>&nbsp;</p> <p style="text-align: center;"><img alt="" src="https://s3.amazonaws.com/media.artslant.com/userimages/32120/1dkh/20161130213958-Diosa_Premiun_back.jpg" /></p> <p>&nbsp;</p> <p><strong>CP: As you note, it&rsquo;s notoriously hard for new media artist to earn money from their work&mdash;so, do you think that&rsquo;s changing? </strong></p> <p><strong>MVS:</strong> It&rsquo;s hard in new media art to make money mostly because there aren&rsquo;t collectors&mdash;or at least like they exist in other disciplines&mdash;which allows a flow of money from prizes, residencies, or institutions. However, I know for sure that the Y- Generation or &ldquo;Millennials&rdquo; are our collectors so we&rsquo;ve got to figure it out what the system of consumption will be for this generation that promotes this purpose. Shows like the Miami fairs can definitely help, but only directly to a singular artists, not to a whole movement.</p> <p><strong>CP: New media has been embraced by a new generation of feminist artists. Why do you think that is? </strong></p> <p><strong>MVS:</strong> Art is the hyperbolic reflex of societies and tells the history that will be preserved and admired in future generations. If the feminist movement has been embraced by contemporary artists, it&#39;s because in our globalized and post-internet society, women have awakened to demand a more equitable distribution of the future. For me, this is something inspiring and important, since I myself have been the object of minimization and contempt throughout my career.</p> <p>&nbsp;</p> <p style="text-align: center;"><img alt="" src="https://s3.amazonaws.com/media.artslant.com/userimages/32120/1dkh/20161130214230-INT2-July.jpg" /></p> <p>&nbsp;</p> <p><strong>CP: How do you think new media artists will react to the changing world, like the rise of the far Right in America and France?</strong></p> <p><strong>MVS:</strong> It&rsquo;s scary to see the rise of these old ideologies. I believed that we were finally in a time that will preach inclusion to all genders, religions, and postures. It seems that this may not happen for many years or until future generations.</p> <p>It is intriguing, however, how empires are destroyed at the cusp of their kingdoms. I&rsquo;m not shocked that North America or France decided to have extreme right candidates. It&rsquo;s the way in which politics develops; we need a dialectic of conventions and meetings. However I am shocked that those candidates expressed themselves with hatred and exclusion, when long ago we overcame the notion that racism and segregation is something positive for a nation.</p> <p>&nbsp;</p> <p style="text-align: center;"><img alt="" src="https://s3.amazonaws.com/media.artslant.com/userimages/32120/1dkh/20161130214249-Copia-de-The-Revolution-is-printing-all-over-me2.gif" /></p> <p>&nbsp;</p> <p><strong>CP: What else do you have coming up?</strong></p> <p><strong>MVS: </strong>The third <a href="http://beautifulinterfaces.org" target="_blank">Beautiful Interfaces</a>, more DiMoDa, and Virtual Reality&hellip;</p> <p>&nbsp;</p> <p>&mdash;<a href="http://www.artslant.com/global/artists/show/441718-christian-petersen?tab=REVIEWS" target="_blank">Christian Petersen</a></p> <p><em>We run an online magazine, so of course, we&#39;re interested in what&#39;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></p> <p>&nbsp;</p> <p><span style="font-size:14px;">(All images: Courtesy of Miy&ouml; Van Stenis)</span></p> Thu, 01 Dec 2016 11:47:01 +0100 https://www.artslant.com/ny/Articles/list https://www.artslant.com/ny/Articles/list The Miami Art Fairs: Here’s What You Need to Know <p>Closing out what can only be described as a relentlessly brutal year, the excesses that are Art Basel Miami Beach and Co. find themselves in the unenviable position of celebrating surfeit in a time of global angst and suffering. But who are we kidding? A sinking shoreline, mosquito-borne pathogens, and a fascist president-elect aren&rsquo;t stopping this party.</p> <p>Yes, facing the indulgences of Miami Art Week might get you feeling a bit more existential than usual&mdash;even in the best of years, Miami&rsquo;s the source of many a perplexing <em>Why does this exist? </em>moment. So, in the smallest of consolations, we offer this primer to make the week easier.</p> <p>It&rsquo;s always a little unclear just how many art fairs turn up in Miami each December. We&rsquo;re going with the liberal total of 25 this year, but won&rsquo;t begrudge anyone&rsquo;s conflicting tally. One thing is for sure: there will be more art than you possibly can, or should, safely take in over the course of a week. This guide will help you decide what you want to see and where/when you can find it. Choose wisely and take care out there, dearest readers!</p> <p>&nbsp;</p> <p style="text-align: center;"><iframe height="500" src="https://www.google.com/maps/d/u/0/embed?mid=14V6bsb68uJfloEfRj58jPtPCwiU" width="100%"></iframe></p> <p style="text-align: center;">Click on each fair for info about dates, opening hours, locations, and admission fees.</p> <p>&nbsp;</p> <p style="text-align: center;"><strong>Jump to:</strong></p> <p style="text-align: center;"><a href="#MiamiBeach">Miami Beach</a><br /> <a href="#Midtown">Midtown/Wynwood</a><br /> <a href="#Other">Other Areas</a></p> <p>&nbsp;</p> <p><strong><a id="MiamiBeach" name="MiamiBeach"></a>MIAMI BEACH</strong></p> <p>&nbsp;</p> <p style="text-align: center;"><strong><img alt="" src="https://s3.amazonaws.com/media.artslant.com/userimages/32120/1dkh/20161129143644-Tasset_Mockup02_HiRes.jpg" /></strong></p> <p style="text-align: center;"><span style="font-size:12px;">Art Basel Miami Beach Public sector: Tony Tasset, Rendering of&nbsp;<em>Arrow Sculpture</em>, 2016. Courtesy of the artist and Kavi Gupta, Chicago</span></p> <p style="text-align: center;">&nbsp;</p> <p><a href="https://www.artslant.com/mia/events/show/434020-art-basel-miami-beach-2016" target="_blank"><span style="font-size:22px;"><strong>Art Basel | Miami Beach</strong></span></a></p> <p>December 1&ndash;4<br /> Private view &amp; Preview: Wed, November 30, 11am&ndash;8pm (invitation only)<br /> Vernissage: Thurs, December 1, 11am&ndash;3pm (invitation only) &nbsp;3&ndash;8pm (general admission)<br /> Public days: Thurs 3&ndash;8pm, Fri/Sat 12&ndash;8pm, Sun 12&ndash;6pm<br /> Miami Beach Convention Center, 1901 Convention Center Dr., Miami Beach<br /> $55 one-day pass, $115 multi-day pass (we recommend purchasing tickets online for a slightly reduced entry)</p> <p><a href="https://www.artbasel.com/miami-beach" target="_blank">artbasel.com</a></p> <p>The beast that has the art world flocking to South Beach each December. With 269 galleries exhibiting modern and contemporary work across six sectors, no other Miami art fairs come close in size or scope. Highlights include &ldquo;Positions,&rdquo; solo presentations from young galleries who got the Basel gatekeeper nod; &ldquo;Kabinett,&rdquo; smart and diverse mini solos installed within a separate section of a gallery&rsquo;s booth; and &ldquo;Survey,&rdquo; art historical and research-driven presentations, this year with a particularly strong showing of artists who may have gone under-recognized by the establishment in their prime.</p> <p>Despite steep entrance fees and multi-million dollar offerings, there are plenty of things for the cash-strapped art lover. Check out the outdoor sculpture sector in Collins Park; nightly <a href="https://www.artbasel.com/miami-beach/events?showId=401&amp;access=PUBLIC&amp;eventTypes=-4&amp;organisers=-1" target="_blank">film screenings</a> in SoundScape Park; and daily &ldquo;Conversations,&rdquo; including artist talks with <a href="https://www.artbasel.com/miami-beach/events/detail/3810" target="_blank">Julio Le Parc</a> and <a href="https://www.artbasel.com/miami-beach/events/detail/4213" target="_blank">Glenn Ligon</a>, and the panel &ldquo;Debating Disruption: Has Technology Really Changed the Artworld?&rdquo; (Thurs&ndash;Sun 10&ndash;11:30am).</p> <p>From the &ldquo;Salon&rdquo; panels we genuinely want to know &ldquo;Why Is Gender Still an Issue?&rdquo; (helmed by Hyperallergic&rsquo;s Jillian Steinhauer, Thurs 4&ndash;5pm), and for the cynical among us, there&rsquo;s this chat about the &ldquo;Post-Election Art Market&rdquo; (Fri 1&ndash;2pm). #priorities</p> <p>&nbsp;</p> <p><a href="https://www.artslant.com/mia/events/show/434461-nada-miami-beach-2016" target="_blank"><span style="font-size:22px;"><strong>NADA</strong></span></a></p> <p>December 1&ndash;4<br /> Preview: Thurs 10am&ndash;2pm (invitation only)<br /> Public hours: Thurs 2&ndash;7pm, Fri/Sat 11am&ndash;7pm, Sun 10am&ndash;5pm<br /> Deauville Beach Resort, 6701 Collins Ave, Miami Beach<br /> $20 one-day pass, $40 multi-day pass</p> <p><a href="http://newartdealers.org/" target="_blank">newartdealers.org</a></p> <p>NADA heads back to its former North Beach haunt at the Deauville Beach Resort. A critic favorite, NADA&rsquo;s the bellwether fair for galleries you&rsquo;re going to need to know, and there are a lot of newbies in town: in 2016 nearly half of its 110 dealers are first-time participants. Bring your bathing suit for <a href="https://www.newartdealers.org/fairs/2016/miami-beach/programs" target="_blank">poolside programming</a> from indie publishers (there&rsquo;s also a great hot tub bar), and stick around North Beach any given evening for <a href="https://www.newartdealers.org/nadawave" target="_blank">Nada Wave</a> happy hours (7&ndash;10pm) and after-parties (10pm&ndash;) at the nearby Sandbar Lounge.</p> <p>&nbsp;</p> <p style="text-align: center;"><img alt="" src="https://s3.amazonaws.com/media.artslant.com/userimages/32120/1dkh/20161129144113-9850e9b7d48bb3fc.jpg" /></p> <p style="text-align: center;"><span style="font-size:12px;">View of Untitled, 2014. Courtesy of Untitled</span></p> <p style="text-align: center;">&nbsp;</p> <p><a href="https://www.artslant.com/mia/events/show/434463-untitled-2016" target="_blank"><span style="font-size:22px;"><strong>UNTITLED</strong></span></a></p> <p>November 30&ndash;December 4<br /> Preview: Nov 29 (Press and VIP)<br /> Public hours: Wed&ndash;Sat 11am&ndash;7pm, Sun 11am&ndash;5pm<br /> Ocean Drive and 12th Street, South Beach<br /> $30 general admission</p> <p><a href="http://www.art-untitled.com/" target="_blank">art-untitled.com</a></p> <p>Untitled, the first fair on the beach, returns to its sandy perch for its fifth edition. Expect hip contemporary art that&rsquo;s bleeding edge, conceptual, and politically engaged. Radio Wynwood will be reprising their role as the voice of the fair with curated, artist-produced programming like Cheryl Pope&rsquo;s anti-violence project, <em><a href="https://www.artslant.com/ew/articles/show/35509" target="_blank">Just Yell</a></em> on <a href="https://art-untitled.com/miami-beach/program/radio/11-30-2016" target="_blank">Untitled, Radio</a>. You can also hear talks with art luminaries Julia Morandeira Arrizabalaga, Bik Van der Pol, and <a href="https://www.artslant.com/ew/articles/show/46882-natalia-zuluaga-kicks-off-artcentersouth-floridas-latest-chapter-with-an-image" target="_blank">Natalia Zuluaga</a>.</p> <p>&nbsp;</p> <p><a href="https://www.artslant.com/mia/events/show/433414-pulse-miami-beach-2016" target="_blank"><span style="font-size:22px;"><strong>PULSE Miami Beach</strong></span></a></p> <p>December 1&ndash;4<br /> Private preview brunch: Thurs 10am&ndash;1pm (invitation only)<br /> Public Vernissage: Tues 1&ndash;7pm<br /> Public hours: Tues 4&ndash;7pm, Fri/Sat 10am&ndash;7pm, Sun 10am&ndash;5pm<br /> Indian Beach Park, 4601 Collins Ave., Miami Beach &nbsp;<br /> $25 one-day pass, $40 multi-day pass</p> <p><a href="http://pulse-art.com/" target="_blank">pulse-art.com</a></p> <p>This satellite circuit mainstay, Pulse is a highlight for its emerging contemporary work from up-and-coming galleries&mdash;and its ample special project sectors. Head straight for the beachfront pavilion&rsquo;s South Tent for &ldquo;<a href="http://pulse-art.com/miami/about-pulse/pulse-prize/" target="_blank">Impulse</a>&rdquo; solo presentations, plus &ldquo;<a href="http://pulse-art.com/miami/about-pulse/conversations/" target="_blank">Conversations</a>&rdquo;&mdash;duo presentations putting artists in dialogue with one another. Among the abundant &ldquo;<a href="http://pulse-art.com/miami/about-pulse/projects/" target="_blank">Projects</a>&rdquo; this year is Erica Prince&rsquo;s <em>The Transformational Makeover Salon</em>, a relational performance project that may or may not give participants the makeover they imagined. Give it a go&mdash;self care, people: it&rsquo;s a thing.</p> <p>&nbsp;</p> <p style="text-align: center;"><img alt="" src="https://s3.amazonaws.com/media.artslant.com/userimages/32120/1dkh/20161129150427-aqua.png" /></p> <p style="text-align: center;"><span style="font-size:12px;">Aqua Hotel courtyard. Courtesy Aqua Art Miami</span></p> <p style="text-align: center;">&nbsp;</p> <p><a href="https://www.artslant.com/mia/events/show/434477-aqua-art-miami-2016" target="_blank"><span style="font-size:22px;"><strong>Aqua Art Miami</strong></span></a></p> <p>November 30&ndash;December 4<br /> VIP preview: Wed, November 30, 3&ndash;10pm (access for Art Miami, CONTEXT and Aqua Art Miami VIP Cardholders &amp; Press)<br /> Public days: Thurs 12&ndash;9pm, Fri/Sat 11am&ndash;9pm, Sun 11am&ndash;6pm<br /> Aqua Hotel, 1530 Collins Ave., Miami Beach<br /> $20 one-day pass (Aqua only), $90 multi-day pass (includes admission for Art Miami, CONTEXT, and Aqua Art Miami)</p> <p><a href="http://www.aquaartmiami.com/" target="_blank">aquaartmiami.com</a></p> <p>This classic South Beach hotel transforms into an art fair once again for its 12th season. Aqua is our fave hotel fair for a reason: galleries surround a funky courtyard filled with palm trees, drinks, and a mini-pool for resting your weary weary ankles. As part of a partnership with the Association of Women Art Dealers, AWAD founder Susan Mumford will host a panel on &ldquo;Unconscious Bias and the Art World&rdquo; (Fri 10&ndash;10:50am).</p> <p style="text-align: center;">&nbsp;</p> <p style="text-align: center;"><img alt="" src="https://s3.amazonaws.com/media.artslant.com/userimages/32120/1dkh/20161129150856-Krampf_Gallery-Marc_Quinn-Siren-2008-Sculpture-88_x_65_x_50_cm_copy.jpg" /></p> <p style="text-align: center;"><span style="font-size:12px;">Marc Quinn, <em>Siren</em>, 2008. Courtesy of Krampf Gallery</span></p> <p style="text-align: center;">&nbsp;</p> <p><a href="https://www.artslant.com/ew/events/show/434466-scope-miami-beach-2016" target="_blank"><span style="font-size:22px;"><strong>Scope Miami Beach</strong></span></a></p> <p>November 29&ndash;December 4<br /> Preview day: Tues 12&ndash;8pm (for VIP, press, and invited guests)<br /> Public hours: Wed&ndash;Sun 11am&ndash;8pm<br /> Scope Pavilion, 810 Ocean Dr., Miami Beach<br /> $35 general admission</p> <p><a href="http://scope-art.com/" target="_blank">scope-art.com</a></p> <p>Turning sweet 16, the enduring Scope returns to its expansive South Beach pavilion to showcase 125 dealers from 22 countries. For what it&rsquo;s worth, Scope&rsquo;s got a clear visual identity: this is where you&rsquo;ll find the type of glossy, photogenic, and street-art inspired works you&rsquo;d expect to see in many a Miami &ldquo;boutique&rdquo; or &ldquo;design&rdquo; hotel.</p> <p>&nbsp;</p> <p style="text-align: center;"><img alt="" src="https://s3.amazonaws.com/media.artslant.com/userimages/32120/1dkh/20161129163844-satellitefair2.jpg" /></p> <p style="text-align: center;"><span style="font-size:12px;">Jen Catron and Paul Outlaw,&nbsp;<em>F+++ OFF</em>, Preliminary rendering&nbsp;for Satellite Projects. Courtesy of the artists</span></p> <p style="text-align: center;">&nbsp;</p> <p><a href="https://www.artslant.com/mia/events/show/434470-satellite-art-show-2016" target="_blank"><span style="font-size:22px;"><strong>Satellite</strong></span></a></p> <p>December 1&ndash;4<br /> Preview: Thurs 12&ndash;3pm<br /> Public hours: Thurs 3&ndash;10pm, Fri/Sat 12&ndash;10pm, Sun 12&ndash;6pm, with daily after-hours programming from 10pm onward<br /> The Parisian Hotel, 1510 Collins Avenue, Miami Beach<br /> $10 one-day pass, $25 week pass</p> <p><a href="http://satellite-show.com/" target="_blank">satellite-show.com</a></p> <p>In its second season, Satellite&rsquo;s orbit closes in on the South Beach fairs, setting up shop in the Parisian Hotel next door to Aqua. Promoting itself as #notbasel, this outsider&rsquo;s fave is basically a fair full of special projects: instead of dealers hawking their wares in booths, each room is a concept-driven project from galleries, artists and artist collectives, schools, and arts publications.</p> <p>&nbsp;</p> <p style="text-align: center;"><img alt="" src="https://s3.amazonaws.com/media.artslant.com/userimages/32120/1dkh/20161129153107-Terry_Dintenfass_with_Jacob_and_Gwendolyn_Lawrence_low.jpg" /></p> <p style="text-align: center;"><span style="font-size:12px;">Terry Dintenfass with Jacob and Gwendolyn Lawrence, from&nbsp;&ldquo;The Women Who Made Modern Art Modern&rdquo;</span></p> <p style="text-align: center;">&nbsp;</p> <p><a href="https://www.artslant.com/mia/events/show/434468-x-contemporary-2016" target="_blank"><span style="font-size:22px;"><strong>X Contemporary</strong></span></a></p> <p>November 30&ndash;December 4<br /> Preview: Wed, 10am&ndash;1pm (invite only)<br /> Public hours: Wed&ndash;Sat 1&ndash;9pm, Thurs&ndash;Sat 10am&ndash;7pm<br /> Ocean Gardens closing party: Sun 12&ndash;5pm (invite only)<br /> Nobu Hotel, 4525 Collins Ave, Miami Beach<br /> $20 one-day pass</p> <p><a href="http://xcontemporaryart.com/" target="_blank">xcontemporaryart.com</a></p> <p>Under new direction, the second iteration of this fair moves from Midtown to Nobu Hotel Miami Beach. This year, X is featuring &ldquo;The Women Who Made Modern Art Modern,&rdquo; an exhibition profiling 16 female art dealers active in the 1940s, 50s, and 60s. Hot tip: stop here to recharge at artist Rachel Lee Hovnanian&rsquo;s sculptural phone charging station.</p> <p>&nbsp;</p> <p style="text-align: center;"><img alt="" src="https://s3.amazonaws.com/media.artslant.com/userimages/32120/1dkh/20161129153821-shop_flotsam_jetsam_designmiami_shop_architects_pc_final.jpg" /></p> <p style="text-align: center;"><span style="font-size:12px;">The Design Miami entrance with the world&rsquo;s largest 3D-printed structure, <em>Flotsam &amp; Jetsam</em>,&nbsp;Rendering by&nbsp;SHoP Architects. Courtesy of SHoP Architects</span></p> <p>&nbsp;</p> <p><span style="font-size:22px;"><strong><a href="https://www.artslant.com/mia/events/show/434472-design-miami-2016" target="_blank">Design Miami</a></strong></span></p> <p>November 30&ndash;December 4<br /> Vernissage: Tues, November 29, 12&ndash;8pm (invitation only)<br /> Public hours: Wed 12&ndash;8pm, Thurs 10am&ndash;8pm, Fri 11am&ndash;8pm, Sat 12&ndash;8pm, Sun 12&ndash;6pm<br /> Meridian Avenue and 19th Street, Miami Beach Convention Center<br /> $30 one-day pass, $65 in combination with entry to Art Basel ($5 discount for ordering tickets online)</p> <p><a href="http://designmiami.com/" target="_blank">designmiami.com</a></p> <p>Design Miami, always the innovator with branding mashups, is worth a trip for anyone who has graduated on from IKEA furniture. This year promises, amongst other beaux objets, a &ldquo;3-D printed ice bucket crafted using powder from Chardonnay grape skins&rdquo; sponsored by Perrier-Jou&euml;t.</p> <p>&nbsp;</p> <p style="text-align: center;"><img alt="" src="https://s3.amazonaws.com/media.artslant.com/userimages/32120/1dkh/20161129153952-17.png" /></p> <p style="text-align: center;"><span style="font-size:12px;">Jane LaFarge Hamill, Giant Summer, 2016. Courtesy FMLY</span></p> <p style="text-align: center;">&nbsp;</p> <p><a href="https://www.artslant.com/mia/events/show/431275-miami-project-edition-5" target="_blank"><span style="font-size:22px;"><strong>Miami Project</strong></span></a></p> <p>December 1&ndash;4<br /> Preview: Thurs 12&ndash;4pm (VIP/invitation only) Thurs 4&ndash;8pm (public)<br /> Public hours: Fri/Sat 11am&ndash;7pm, Sun 11am&ndash;6pm<br /> The Deauville Beach Resort, 6701 Collins Ave., Miami Beach<br /> $25 one-day pass, $40 multi-day pass</p> <p><a href="http://miami-project.com/" target="_blank">miami-project.com</a></p> <p>The Miami Project is going back to basics in its fifth year&mdash;gone is the short-lived Art on Paper sister fair, and it is no longer partnering with Satellite. Instead, this intimate Art Market Productions enterprise hitches its fortunes on NADA, one block away, as it looks to capitalize on the fair-goers headed up to North Beach.</p> <p>&nbsp;</p> <p><span style="font-size:22px;"><strong><a href="https://www.artslant.com/mia/events/show/430969-ink-miami-art-fair-2016" target="_blank">Ink Miami Art Fair</a></strong></span></p> <p>November 30&ndash;December 4<br /> Public hours: Wed 9&ndash;5pm, Thurs&ndash;Sat 10am&ndash;8pm, Sun 10am&ndash;3pm<br /> Dorchester, 1850 Collins Avenue, Miami Beach<br /> Admission is free</p> <p><a href="http://inkartfair.com/" target="_blank">inkartfair.com</a></p> <p>With Art on Paper gone after one season, Ink reclaims its longstanding title as Miami&rsquo;s only fair dedicated to works on paper. This is the little fair that could&mdash;with 11 exhibitors in its 11th year, it&rsquo;s an easy and intimate introduction for new collectors.</p> <p>&nbsp;</p> <p><a href="https://www.artslant.com/mia/events/show/434483-fridge-art-fair-2016" target="_blank"><span style="font-size:22px;"><strong>Fridge Art Fair</strong></span></a></p> <p>November 27&ndash;December 4<br /> Preview: November 27, 4&ndash;7pm (ticket required)<br /> Grand gala closing event: Sat 4&ndash;7pm (suggested donation $10)<br /> Public Hours: Mon&ndash;Sun 9am&ndash;9pm<br /> Underground Gallery at The Betsy Hotel, 1440 Ocean Drive, Miami Beach<br /> $10 suggested admission</p> <p><a href="http://www.fridgeartfair.com/" target="_blank">fridgeartfair.com</a></p> <p>For its fourth installment, this cheeky fair moves to The Betsy Hotel. Art shows pop up across the hotel, but Fridge&rsquo;s signature is the &ldquo;Curated Mini-Fridge Art Fair,&rdquo; hosted in The Underground Gallery and curated by New York artist and fair founder Eric Ginsburg.</p> <p>&nbsp;</p> <p><strong><a id="Midtown" name="Midtown"></a>MIDTOWN/WYNWOOD ARTS DISTRICT</strong></p> <p style="text-align: center;">&nbsp;</p> <p style="text-align: center;"><img alt="" src="https://s3.amazonaws.com/media.artslant.com/userimages/32120/1dkh/20161129154731-art_miami.png" /></p> <p style="text-align: center;"><span style="font-size:12px;">Art Miami. Photo: Ken Hayden Photography</span></p> <p style="text-align: center;">&nbsp;</p> <p><a href="https://www.artslant.com/mia/events/show/434457-art-miami-2016" target="_blank"><span style="font-size:22px;"><strong>Art Miami
</strong></span></a></p> <p>November 29&ndash;December 4<br /> VIP preview: Tues 5:30&ndash;10pm (Access for Art Miami VIP Cardholders and Press)<br /> Public hours: Wed&ndash;Sat 11am&ndash;8pm, Sun 11am&ndash;6pm<br /> 3101 NE First Ave., Wynwood<br /> $45 one-day pass, $90 multi-day pass (includes admission for Art Miami, CONTEXT, and Aqua Art Miami)</p> <p><a href="http://www.art-miami.com/" target="_blank">art-miami.com</a></p> <p>As one of the few fairs to span modern and contemporary periods, the 27th edition of Miami&rsquo;s oldest art fair includes a cavalcade of the usuals: Chagall, Ernst, L&eacute;ger, Lichtenstein, Stella, de Kooning, and Thiebaud. An interactive diamond booth will also be present. Not sure what that means but proceeds will go to &ldquo;DIAMONDS UNLEASHED Donor Advised Fund benefiting Girls Who Code, GirlUp and She&#39;s the First.&rdquo;</p> <p>&nbsp;</p> <p><span style="font-size:22px;"><strong><a href="https://www.artslant.com/mia/events/show/434459-context-art-miami-2016" target="_blank">CONTEXT Art Miami</a></strong></span></p> <p>December 1&ndash;6 
<br /> VIP preview: Tues 5:30&ndash;10pm (Access for Art Miami VIP Cardholders and Press)<br /> Public hours: Wed&ndash;Sat 11am&ndash;8pm, Sun 11am&ndash;6pm<br /> 118 NE 34th Street, Wynwood<br /> $40 one-day pass, $85 multi-day pass (includes admission for Art Miami, CONTEXT, and Aqua Art Miami)</p> <p><a href="http://www.contextartmiami.com/" target="_blank">contextartmiami.com</a></p> <p>In its fifth year, CONTEXT&mdash;Art Miami&rsquo;s sister fair for contemporary art&mdash;has wandered a little farther away from its progenitor, one block away in midtown Miami. One highlight will be checking out Brian Eno&rsquo;s sculptures. Maybe just put <a href="https://www.youtube.com/watch?v=vNwYtllyt3Q" target="_blank">Music for Airports</a> in your earbuds and wander around for a while. If you&rsquo;re into aural, check out the reprise of Sound Positions, a sound art exhibition curated by Cristoph Cox.</p> <p>&nbsp;</p> <p style="text-align: center;"><img alt="" src="https://s3.amazonaws.com/media.artslant.com/userimages/32120/1dkh/20161129155735-politics.png" /></p> <p style="text-align: center;"><span style="font-size:12px;">Spectrum <a href="http://spectrum-miami.com/attend/programs/launchpad-program/" target="_blank">LaunchPad Program</a> artist Luis A. Gutierrez,&nbsp;<em>Politics</em></span></p> <p>&nbsp;</p> <p><span style="font-size:22px;"><a href="https://www.artslant.com/mia/events/show/434091-spectrum-miami-2016" target="_blank"><strong>SPECTRUM Miami</strong></a><br /> <a href="http://www.artspotmiami.com/" target="_blank"><strong>ArtSpot Miami</strong></a><br /> <a href="https://www.artslant.com/mia/events/show/434484-red-dot-miami-2016" target="_blank"><strong>The New Red Dot Miami</strong></a></span></p> <p>November 30&ndash;December 4<br /> Preview: Wed 6&ndash;10pm (tickets required)<br /> Public hours: Thurs&ndash;Sat 12&ndash;8pm, Sun 12&ndash;5pm<br /> 1700 NE 2nd Avenue (NE 2nd Ave. at NE 17th St.)<br /> $30 one-day pass (includes admission to SPECTRUM, ArtSpot, and Red Dot) ($25 if purchased online)</p> <p><a href="http://spectrum-miami.com/" target="_blank">spectrum-miami.com</a><br /> <a href="http://www.artspotmiami.com/" target="_blank">artspotmiami.com</a><br /> <a href="http://reddotmiami.com/" target="_blank">reddotmiami.com</a></p> <p>This trio of fairs share a site in the Arts &amp; Entertainment District. Spectrum and its show-within-a-show ArtSpot highlight photography this year with their &ldquo;Foto Solo&rdquo; and &ldquo;Photo Lab International&rdquo; presentations, respectively.</p> <p>Like Spectrum, <em>The New </em>Red Dot&mdash;n&eacute;e Red Dot&mdash;features Art Labs and Spotlights&mdash;booth programming with artist and gallery meet-and-greets. In a trend we&rsquo;re seeing more and more of, the Miami non-profit Life is Art lab will feature VR art experiences in partnership with Virtual Relief and students from Miami International University of Art and Design.</p> <p>&nbsp;</p> <p style="text-align: center;"><img alt="" src="https://s3.amazonaws.com/media.artslant.com/userimages/32120/1dkh/20161129160426-Waltercio_Caldas_Figura_Figura.jpg" /></p> <p style="text-align: center;"><span style="font-size:12px;">Waltercio Caldas,&nbsp;<em>Figura Figura</em>. Exhibited by Multipo Espa&ccedil;o Arte</span></p> <p>&nbsp;</p> <p><span style="font-size:22px;"><strong><a href="https://www.artslant.com/mia/events/show/434481-pinta-miami-2016" target="_blank">Pinta Miami</a></strong></span></p> <p>November 30&ndash;December 4<br /> Preview: Tues, 6:45&ndash;10:30pm (invitation only)<br /> Vernissage: Wed 5&ndash;8pm<br /> Public hours: Wed 5&ndash;8pm, Thurs&ndash;Sat 12&ndash;8pm, Sun 12&ndash;6pm<br /> MANA Wynwood, 318 NW 23rd Street<br /> Admission free; donation suggested</p> <p><a href="http://www.pintamiami.com/" target="_blank">pintamiami.com</a></p> <p>Pinta makes a return this year to the sprawling MANA Wynwood. This edition is being touted as a more &ldquo;international and interdisciplinary&rdquo; version of the traditionally Latin America and Iberia focused fair. Miami curatorial committee, Jos&eacute; Antonio Navarrete, Roc Laseca, and Jesus Fuenmayor hope to create a &ldquo;dialogue across all cultures, connecting Latin America to the rest of the world.&rdquo;</p> <p>&nbsp;</p> <p style="text-align: center;"><img alt="" src="https://s3.amazonaws.com/media.artslant.com/userimages/32120/1dkh/20161129160912-Jen_Clay_-_Squatter_Gallery.jpg" /></p> <p style="text-align: center;"><span style="font-size:12px;">Jen Clay, exhibited by Squatter Gallery at Superfine!</span></p> <p style="text-align: center;">&nbsp;</p> <p><a href="https://www.artslant.com/mia/events/show/434479-superfine-the-fairest-fair-2016" target="_blank"><span style="font-size:22px;"><strong>Superfine! The Fairest Fair</strong></span></a></p> <p>December 1&ndash;4<br /> Previews: Thurs 11am&ndash;6pm (invite only)<br /> Public hours: Thurs 6&ndash;11pm, Fri/Sat 1&ndash;11pm, Sun 1&ndash;8pm<br /> 56 NE 29th Street, Midtown Miami<br /> $7.77 one-day pass, $33.33 multi-day pass</p> <p><strong><a href="http://www.superfine.world/" target="_blank">superfine.world</a></strong></p> <p>We dig Superfine!&rsquo;s mission to disrupt the art fair model that pushes costs onto exhibitors and collectors. Focusing on under-served collector bases, Superfine! isn&rsquo;t exactly courting the same demographic as many of the week&rsquo;s high-rolling outfits&mdash;though its new home across the street from Art Miami will surely bring in more of Miami Art Week&rsquo;s traditional audience. Panels sound promising with topics like: &ldquo;An Artist Who Happens to Be (Queer)&rdquo; (Fri 2&ndash;3pm) and &ldquo;Sorry I&rsquo;m Not a Collector&rdquo; (Sat 1&ndash;2pm).</p> <p>&nbsp;</p> <p><a href="https://www.artslant.com/mia/events/show/434494-conception-art-fair-2016" target="_blank"><span style="font-size:22px;"><strong>Conception Art Fair</strong></span></a></p> <p>December 1&ndash;4<br /> Preview: Thurs 6&ndash;10pm (VIP and press)<br /> Public hours: Fri&ndash;Sat 12&ndash;8pm, Sun 12&ndash;6pm<br /> 31 NW 23rd Street, Wynwood<br /> $20 one-day pass; $40 multi-day pass</p> <p><a href="http://www.conceptionartfair.com/" target="_blank">conceptionartfair.com</a></p> <p>Conception is a small, artist-centered enterprise, promoted as Miami&rsquo;s first women-owned and produced fair. It promises &ldquo;a strong focus on art for social and political change as well as work by women and other under-represented minorities.&rdquo; Expect pop-inspired and street art aesthetics from 22 artist exhibitors.</p> <p>&nbsp;</p> <p><strong><a id="Other" name="Other"></a>OTHER AREAS</strong></p> <p>&nbsp;</p> <p style="text-align: center;"><img alt="" src="https://s3.amazonaws.com/media.artslant.com/userimages/32120/1dkh/20161129161948-Allison_Janae_Hamilton_MilkorHoney_VideoStill.jpg" /></p> <p style="text-align: center;"><span style="font-size:12px;">Allison Janae Hamilton, <em>The Land of Milk or Honey</em>, Video installation. Courtesy of PRIZM Art Fair</span></p> <p style="text-align: center;">&nbsp;</p> <p><span style="font-size:22px;"><strong><a href="https://www.artslant.com/mia/events/show/434492-prizm-art-fair-2016" target="_blank">Prizm Art Fair</a></strong></span></p> <p>November 29&ndash;December 11<br /> Preview: Tues 12&ndash;4pm (invite only)<br /> Nov 30&ndash;Dec 4 11am&ndash;7pm, Dec 5&ndash;11 11&ndash;5pm<br /> 7230 NW Miami Court, Little River<br /> $15 one-day pass; $50 multi-day pass</p> <p><a href="http://www.prizmartfair.com/" target="_blank">prizmartfair.com</a></p> <p>This four-year-old fair for artists from Africa and the Diaspora runs for a fortnight at a new Little River venue. Featuring nearly 40 artist solo presentations, this year&rsquo;s theme considers the &ldquo;global impact of Africa&rsquo;s cultural DNA.&rdquo; For such a small fair, Prizm has a robust <a href="http://www.prizmartfair.com/2016-schedule-of-events" target="_blank">programming schedule</a> with performances and talks such as &ldquo;Black Femininity in Contemporary Art,&rdquo; led by Karen Senefuru.</p> <p>Also featuring art from the African diaspora, <a href="http://www.artafricamiamifair.com/" target="_blank">Art Africa Miami Arts Fair</a>, turns six this year. More of an exhibition than a traditional fair, this juried show&rsquo;s 2016 theme is <em>Afrotopia</em>. It is now held in the recently renovated Historic Clyde Killens Hall (920 NW 2nd Ave in Overtown), from Wednesday&ndash;Sunday.</p> <p>&nbsp;</p> <p style="text-align: center;"><img alt="" src="https://s3.amazonaws.com/media.artslant.com/userimages/32120/1dkh/20161129162851-Concept16_Website_Kim-Yun-Soo_2014_Surface-of-Wind-Gallery-SoSo-1024x737.jpg" /></p> <p style="text-align: center;"><span style="font-size:12px;">Kim Yun Soo, <em>Surface of Wind</em>, 2014, Gallery SoSo</span></p> <p style="text-align: center;">&nbsp;</p> <p><a href="https://www.artslant.com/mia/events/show/434490-concept-art-fair-2016" target="_blank"><span style="font-size:22px;"><strong>Art Concept</strong></span></a></p> <p>November 29&ndash;December 4<br /> Collectors&rsquo; VIP Vernissage: Wed 1&ndash;10pm (invite only)<br /> Public hours: Thurs&ndash;Sat 1&ndash;10pm, Sun 1&ndash;6pm<br /> Bayfront Park, 301 Biscayne Blvd at Chopin Plaza, Downtown Miami<br /> $20 one-day pass; $30 multi-day pass</p> <p><a href="http://nextlevelfairs.com/concept/" target="_blank">nextlevelfairs.com/concept</a></p> <p>Next Level Fairs throws its hat into the ring this year with Art Concept. With presentations like &ldquo;An Insider&rsquo;s View on Valuing Art&rdquo; and &ldquo;The Golden Rules in Collecting,&rdquo; we&rsquo;re expecting a practical, collector-driven approach from this one, with few surprises. We&rsquo;re into the donut-shaped pavilion though&mdash;just follow it around to the stunning views of Biscayne Bay.</p> <p>&nbsp;</p> <p><a href="https://www.artslant.com/mia/events/show/434488-miami-river-art-fair-5th-edition" target="_blank"><span style="font-size:22px;"><strong>Miami River Art Fair
</strong></span></a></p> <p>December 1&ndash;4<br /> VIP Collector&rsquo;s Preview: Thurs, 6&ndash;11pm (black tie, invitation only)<br /> Public hours: Fri&ndash;Sun 12&ndash;8pm<br /> Miami Convention Center Downtown-Brickell, 400 SE 2nd. Ave<br /> Admission is free online. $20 general admission at door</p> <p><a href="http://miamiriverartfair.com/" target="_blank">miamiriverartfair.com</a></p> <p>A largely unremarkable Art Week contender, the trick up this so-called &ldquo;Waterfront Art Fair&rdquo;&rsquo;s sleeve is the Riverwalk Sculpture Mall, installed alongside the Miami River Downtown.</p> <p>&nbsp;</p> <p style="text-align: center;"><img alt="" src="https://s3.amazonaws.com/media.artslant.com/userimages/32120/1dkh/20161129163608-L1190323.jpg" /></p> <p style="text-align: center;"><span style="font-size:12px;">2015 mural from the Little Haiti Mural Project, Caratoes</span></p> <p style="text-align: center;">&nbsp;</p> <p><span style="font-size:22px;"><strong><a href="https://www.artslant.com/mia/events/show/434497-art-beat-miami-art-fair-2016" target="_blank">Art Beat Miami</a></strong></span></p> <p>November 30&ndash;December 3<br /> Preview party: Wed 7&ndash;10pm<br /> Public hours: Wed&ndash;Sat 12&ndash;8pm<br /> Little Haiti Cultural Center Complex, 212-260 NE 59th Terrace, Little Haiti<br /> Admission is free</p> <p><a href="http://artbeatmiami.com/" target="_blank">artbeatmiami.com</a></p> <p>Installed as a pop-up in Little Haiti&rsquo;s Caribbean Marketplace, Art Beat Miami focuses on local and Haitian artists. Be sure to check out the <a href="http://littlehaitimuralproject.com/" target="_blank">Little Haiti Mural Project</a>&mdash;a mile of murals and public art installation spanning Northeast Second Avenue.</p> <p>&nbsp;</p> <p>&mdash;The ArtSlant Team</p> <p>&nbsp;</p> <p><span style="font-size:12px;">(Image at top:&nbsp;<span style="text-align: center;">Falling from Paradise, Studio shot for Satellite Projects)</span></span></p> Tue, 29 Nov 2016 19:00:03 +0100 https://www.artslant.com/ny/Articles/list https://www.artslant.com/ny/Articles/list Under the Radar: David Rios Ferreira | Zed Nesti | Naira Mushtaq <table style="width: 100%;"> <tbody> <tr> <td> <table align="center" border="0" style="width: 100%;"> <tbody> <tr> <td colspan="4"> <p>&nbsp;</p> </td> </tr> <tr> <td> <p><span style="font-size: medium;"><em><span style="font-family: georgia, palatino; line-height: 24px;">ArtSlant is an open Arts community with over 200,000 free, user-generated <a href="http://www.artslant.com/ny/intros/plans?utm_source=Radar&amp;utm_medium=image&amp;utm_campaign=Subs" style="color: #097ff5; text-decoration: none;">artist profiles</a>. The support of our community is an essential part of our mission &mdash; from our <a href="http://www.artslant.com/ny/articles/editorial?utm_source=Radar&amp;utm_medium=image&amp;utm_campaign=Mag" style="color: #097ff5; text-decoration: none;">magazine</a> to our <a href="http://www.artslant.com/ny/articles/show/33747" style="color: #097ff5; text-decoration: none;">residency</a> and <a href="http://www.artslant.com/ny/articles/show/8456?utm_source=Radar&amp;utm_medium=image&amp;utm_campaign=Prize" style="color: #097ff5; text-decoration: none;">prize</a>. Every week our editors select the best artist profiles from under the radar. </span></em></span></p> <p><span style="font-size: medium;"><em><span style="font-family: georgia, palatino; line-height: 24px;">Follow your favorite artists to see new work and exhibitions by adding them to your <a href="http://www.artslant.com/global/articles/show/11143" style="color: #097ff5; text-decoration: none;">watchlist.</a></span></em></span></p> <hr /> <p><a href="https://www.artslant.com/global/artists/show/74231-david-rios-ferreira?utm_source=DavidRiosFerreira&amp;utm_medium=image&amp;utm_campaign=Radar" style="text-decoration: none;"><span style="font-family: georgia, palatino; font-size: large;"><span color="#097ff5" face="georgia, palatino" georgia="" large="" palatino="" size="4" style="color: #097ff5; text-decoration: none;">David Rios Ferreira &ndash; New York City</span></span></a></p> <p><a href="https://www.artslant.com/la/works/show/1001137?utm_source=v&amp;utm_medium=image&amp;utm_campaign=Radar"><img src="https://s3.amazonaws.com/media.artslant.com/work/image/1001137/u3azr9/20160731001732-David_RiosFerreira_BodiesBurn.jpg" style="display: block; margin-left: auto; margin-right: auto;" width="100%" /></a></p> <table width="100%"> <tbody> <tr> <td style="padding 0px;" width="33%"><a href="https://www.artslant.com/la/works/show/1001139?utm_source=DavidRiosFerreira&amp;utm_medium=image&amp;utm_campaign=Radar"><img src="https://s3.amazonaws.com/media.artslant.com/work/image/1001139/mf2ji7/20160731001740-David_RiosFerreira_Running_wild.jpg" width="100%" /></a></td> <td style="padding 0px;" width="33%"><a href="https://www.artslant.com/la/works/show/1001145?utm_source=DavidRiosFerreira&amp;utm_medium=image&amp;utm_campaign=Radar"><img src="https://s3.amazonaws.com/media.artslant.com/work/image/1001145/mf2ji7/20160731001838-Untitled2016_01sized.jpg" width="100%" /></a></td> <td style="padding 0px;" width="33%"><a href="https://www.artslant.com/la/works/show/1001144?utm_source=DavidRiosFerreira&amp;utm_medium=image&amp;utm_campaign=Radar"><img src="https://s3.amazonaws.com/media.artslant.com/work/image/1001144/mf2ji7/20160731001832-Untitled2016_02sized.jpg" width="100%" /></a></td> </tr> </tbody> </table> <hr /> <p><a href="https://www.artslant.com/global/artists/show/470474-zed-nesti?utm_source=ZedNesti&amp;utm_medium=image&amp;utm_campaign=Radar" style="text-decoration: none;"><span style="color: #097ff5; font-family: georgia, palatino; font-size: large;">Zed Nesti &ndash; Brazil</span></a></p> <p><a href="https://www.artslant.com/la/works/show/1013816?utm_source= ZedNesti&amp;utm_medium=image&amp;utm_campaign=Radar"><img src="https://s3.amazonaws.com/media.artslant.com/work/image/1013816/u3azr9/20161026195017-ZN_63013_120X160cm.jpg" style="display: block; margin-left: auto; margin-right: auto;" width="100%" /></a></p> <table width="100%"> <tbody> <tr> <td style="padding 0px;" width="33%"><a href="https://www.artslant.com/la/works/show/1013814?utm_source= ZedNesti&amp;utm_medium=image&amp;utm_campaign=Radar"><img src="https://s3.amazonaws.com/media.artslant.com/work/image/1013814/mf2ji7/20161026195009-ZN_63018_190X150cm.jpg" width="100%" /></a></td> <td style="padding 0px;" width="33%"><a href="https://www.artslant.com/la/works/show/1013800?utm_source= ZedNesti&amp;utm_medium=image&amp;utm_campaign=Radar"><img src="https://s3.amazonaws.com/media.artslant.com/work/image/1013800/u3azr9/20161026194853-ZN_63009_210X210cm.jpg" width="100%" /></a></td> <td style="padding 0px;" width="33%"><a href="https://www.artslant.com/la/works/show/1013801?utm_source= ZedNesti&amp;utm_medium=image&amp;utm_campaign=Radar"><img src="https://s3.amazonaws.com/media.artslant.com/work/image/1013801/mf2ji7/20161026194917-ZN_63000_250X200cm.jpg" width="100%" /></a></td> </tr> </tbody> </table> <hr /> <p><a href="https://www.artslant.com/global/artists/show/320039-naira-mushtaq?tab=PROFILE?utm_source=NairaMushtaq&amp;utm_medium=image&amp;utm_campaign=Radar" style="text-decoration: none;"><span color="#097ff5" face="georgia, palatino" size="4" style="color: #097ff5; font-family: georgia, palatino; font-size: large;">Naira Mushtaq &ndash; Lahore, Pakistan</span></a></p> <p><a href="https://www.artslant.com/la/works/show/888598?utm_source= NairaMushtaq&amp;utm_medium=image&amp;utm_campaign=Radar"><img src="https://s3.amazonaws.com/media.artslant.com/work/image/888598/u3azr9/20150223101307-25-02-1958.JPG" style="display: block; margin-left: auto; margin-right: auto;" width="100%" /></a></p> <table width="100%"> <tbody> <tr> <td style="padding 0px;" width="33%"><a href="https://www.artslant.com/la/works/show/888592?utm_source= NairaMushtaq&amp;utm_medium=image&amp;utm_campaign=Radar"><img src="https://s3.amazonaws.com/media.artslant.com/work/image/888592/u3azr9/20150223101208-naira_mushtaq_12.JPG" width="100%" /></a></td> <td style="padding 0px;" width="33%"><a href="https://www.artslant.com/la/works/show/888569?utm_source= NairaMushtaq&amp;utm_medium=image&amp;utm_campaign=Radar"><img src="https://s3.amazonaws.com/media.artslant.com/work/image/888569/u3azr9/20150223100613-12-12-1971_-_91.44_x_122_cm_-_Mix_medium.jpg" width="100%" /></a></td> <td style="padding 0px;" width="33%"><a href="https://www.artslant.com/la/works/show/888596?utm_source= NairaMushtaq&amp;utm_medium=image&amp;utm_campaign=Radar"><img src="https://s3.amazonaws.com/media.artslant.com/work/image/888596/u3azr9/20150223101254-4.JPG" width="100%" /></a></td> </tr> </tbody> </table> <p style="text-align: center;">&nbsp;</p> <hr /> <p style="text-align: center;"><em><span style="font-family: georgia, palatino; font-size: medium; line-height: 24px;">ArtSlant supports thousands of contemporary artists through our outreach and exposure programs&mdash;come join the best online arts community today!</span></em></p> <p style="text-align: center;">&nbsp;</p> <table> <tbody> <tr> <td style="padding 0px;" width="25%"><a href="http://www.artslant.com/ny/articles/show/8456?utm_source=Radar&amp;utm_medium=image&amp;utm_campaign=Prize"><img src="http://dbprng00ikc2j.cloudfront.net/userimages/84518/3mfh/20160210150305-prize-radar-logo-2016.jpg" width="100%" /></a></td> <td style="padding 0px;" width="25%"><a href="http://www.artslant.com/ny/articles/show/33747?utm_source=Radar&amp;utm_medium=image&amp;utm_campaign=Residency"><img src="http://dbprng00ikc2j.cloudfront.net/userimages/84518/3mfh/20150605182447-residency-logo-300.jpg" width="100%" /></a></td> <td style="padding 0px;" width="25%"><a href="https://www.amazon.com/s?marketplaceID=ATVPDKIKX0DER&amp;me=A2JPU387EQQ9HR&amp;merchant=A2JPU387EQQ9HR&amp;redirect=true" style="font-family: georgia, palatino;"><img src="http://dbprng00ikc2j.cloudfront.net/userimages/84518/3mfh/20150605182634-sales-room-200-logo.jpg" width="100%" /></a></td> <td style="padding 0px;" width="25%"><a href="http://www.artslant.com/ny/intros/plans?utm_source=Radar&amp;utm_medium=image&amp;utm_campaign=Subs"><span style="font-family: georgia, palatino;"><img src="http://dbprng00ikc2j.cloudfront.net/userimages/84518/3mfh/20150605182549-profile-subscriptions-logo-300.jpg" width="100%" /></span></a></td> </tr> </tbody> </table> </td> </tr> </tbody> </table> </td> </tr> </tbody> </table> Fri, 25 Nov 2016 19:16:27 +0100 https://www.artslant.com/ny/Articles/list https://www.artslant.com/ny/Articles/list Natalia Zuluaga Kicks Off ArtCenter/South Florida’s Latest Chapter with “An Image” <p>When <a href="http://www.artcentersf.org/" target="_blank"><strong>ArtCenter/South Florida</strong></a> opened on Lincoln Road in 1984, in the heart of South Beach, the street was &ldquo;nearly abandoned and severely dilapidated.&rdquo; Today the center, which hosts exhibitions, classes, and a studio residency program, is credited with kickstarting the revitalization of the mall and its surrounding area. Following the appointment of Natalia Zuluaga as Artistic Director this August, ArtCenter itself is getting something of a revitalization. Dynamic changes are underway as the promising Bard Center for Curatorial Studies graduate begins her tenure with an ambitious exhibition that rethinks the space&#39;s programming structure&mdash;and the very shape of what an exhibition can be.</p> <p>Part of an emerging generation of local creatives that have been actively distinguishing Miami&rsquo;s cultural identity through art&mdash;challenging stereotypes about the city and bringing it visibility outside of the annual art fair invasion&mdash;Zuluaga will oversee programming, education initiatives, and artist residencies. In addition, she works on a variety of collaborative curatorial and publishing projects such as <a href="http://namepublications.org/" target="_blank"><strong>[NAME] Publications</strong></a> and PDP/PLP, a transdisciplinary &ldquo;think tank&rdquo; co-run by <a href="https://www.artslant.com/global/artists/show/334661-alan-gutierrezhttps://www.artslant.com/global/artists/show/334661-alan-gutierrez" target="_blank"><strong>Alan Gutierrez</strong>,</a> <a href="https://www.artslant.com/global/artists/show/228798-patricia-margarita-hernandez" target="_blank"><strong>Patricia Margarita Hernandez</strong></a>, and <a href="https://www.artslant.com/global/artists/show/223455-domingo-castillo" target="_blank"><strong>Domingo Castillo</strong></a>. &nbsp;</p> <p>For her debut ArtCenter exhibition, she worked with Castillo, an artist and co-founding <a href="http://noguchibreton.net/" target="_blank"><strong>Noguchi Breton</strong></a> gallerist, to co-curate <a href="http://www.artcentersf.org/fall2016/animage/" target="_blank"><strong><em>An Image</em></strong></a>, which runs through December 18. Together, they organized an exhibition that deconstructs, subverts, and reasserts notions of <em>the image</em>: what it is, what it could be, and how it functions in culture. The exhibition title is borrowed from Harun Farocki&rsquo;s film, included in the show, and the installation presents a smart selection of video art, objects, performance, and talks.</p> <p>I spoke recently with Zuluaga and Castillo about their conceptual framework and the intricacies of their robust exhibition, which is a must-see during Miami Art Week next month.</p> <p>&nbsp;</p> <p style="text-align: center;"><img alt="" src="https://s3.amazonaws.com/media.artslant.com/userimages/32120/1dkh/20161121180139-ArtCenter_An_Image_Exterior_View.jpg" /></p> <p style="text-align: center;"><span style="font-size:14px;">Exterior view of <em>An Image</em>,&nbsp;ArtCenter South/Florida. Photo: Zack Balber</span></p> <p>&nbsp;</p> <p><strong>Audrey Phillips: Natalia, what led to your move to ArtCenter/South Florida and what shape do you see things taking with future exhibitions? &nbsp;</strong></p> <p><strong>Natalia Zuluaga: </strong>My move to ArtCenter was really the result of a confluence of things, and luckily so. I think the institution is going through an interesting transition period and was a great place from which to explore my own interests in &ldquo;institutional forms&rdquo; and programming. So the invitation to come in and re-imagine the way ArtCenter&rsquo;s many pieces fit together (exhibitions, residencies, pedagogy) was particularly exciting for me.</p> <p><em>An Image</em> reflects a way of programming that allowed us to think through ideas over longer periods of time. So, instead of thinking about an exhibition schedule that included 10 exhibitions a year, I figured we could shorten that down to 3-4, and instead unpack the ideas over longer periods of time and through a variety of engagements. This is where the thinking behind an exhibition in the shape of objects, lectures, screenings, and using the exhibition space as the site where most of these things happen came into fruition. So future programs at ArtCenter may not be exhibitions at all, and instead focus on the necessary outputs for the content we want to engage with and breaking with the demands we place on ourselves to produce (or overproduce!) in one particular way.</p> <p>&nbsp;</p> <p style="text-align: center;"><img alt="" src="https://s3.amazonaws.com/media.artslant.com/userimages/32120/1dkh/20161121181003-ArtCenter_An_Image_Barbara_Kasten__2_.jpg" style="width: 700px; height: 467px;" /></p> <p style="text-align: center;"><span style="font-size:14px;">Barbara Kasten,&nbsp;Installation view of&nbsp;<em>An Image</em>&nbsp;at ArtCenter/South Florida.&nbsp;</span><span style="font-size: 14px; text-align: center;">Photo: Zack Balber</span></p> <p style="text-align: center;">&nbsp;</p> <p><strong>AP: The exhibition seems so thoughtful, even the design of the </strong><a href="http://www.artcentersf.org/fall2016/animage/" target="_blank"><strong>web page</strong></a><strong>&mdash;which is beautiful. I imagine it was also approached as an image in and of itself. Could you talk about the process of selecting works and how they operate in relation to one another?</strong></p> <p><strong>NZ: </strong>Domingo and I really did want to think about all of the components in the exhibition as images, or as contributing factors to the construction of an image. We wanted to move beyond the representational force of an image which had dominated so much of &ldquo;image&rdquo; discourse/politics and think about the way an image is both imbricated and a catalyst for a number of social/political processes. So yes, the website, and especially the installation was important for this because we knew that the exhibition space as an image would travel further than the amount of people who could possibly access it in person.</p> <p>As a project we like to think that it works on two registers: that the exhibition space itself works as the place where the construction of an image is set to play, and that the public programs were a way of thinking through effects and gamuts of temporalities. In the space you have works by Harun Farocki, Enrique Castro-Cid, Barbara Kasten, and Suzan Pitt as immediate examples bolstered by the exhibition design and by the lighting, which Alan Gutierrez so carefully designed. Each one of these pieces does something slightly different: Farocki gives you the careful construction of desire in an image; Pitt&mdash;the presence of the hand in her very rich imagery; Castro-Cid in the relation between reality, computer-aided design, and painting. &nbsp;</p> <p>I think together the pieces are more than individual images&mdash;and this is important because we weren&rsquo;t interested in <em>importing </em>images; we wanted to create one too.</p> <p>&nbsp;</p> <p style="text-align: center;"><img alt="" src="https://s3.amazonaws.com/media.artslant.com/userimages/32120/1dkh/20161121180257-ArtCenter_An_Image_Alan_Gutierrez.jpg" style="width: 700px; height: 467px;" /></p> <p style="text-align: center;"><span style="font-size:14px;">Alan Gutierrez, Installation view of&nbsp;<em>An Image</em>&nbsp;at ArtCenter/South Florida.&nbsp;</span><span style="font-size: 14px; text-align: center;">Photo: Zack Balber</span></p> <p>&nbsp;</p> <p><strong>Domingo Castillo:</strong> We looked at <a href="http://arquitectonica.com/blog/portfolio/residential/the-pink-house/" target="_blank">ARQUITECTONICA&rsquo;s Pink House</a> as a case study of a project that literally reprogramed the visual identity of Miami for the 80s and made ARQUITECTONICA an instant global architecture firm. The house, which perfectly exemplifies the &ldquo;post-modern&rdquo; in architecture, won multiple awards before it was even built. The proposal of which was first designed by Laurinda Spear and Rem Koolhaas, showed a return to the hand-painted and romanticized rendering which clearly highlighted their admiration of the Bauhaus thinking but begins to do something else.</p> <p>When the house is finally constructed it&rsquo;s redesigned by the newly established firm. It begins getting highlighted for its five Shades of Pink and it continues to get awards through all the photography-based architectural magazines. Luxury brands use the house as a stage for their advertisements, becoming the actual post-modern moment. The functionality of the house as a house comes second to it functioning as a stage where images are created. Due to the sheer amount of images that are generated through the house and its positioned branding of the image, the City of Miami starts to pivot towards the lifestyle, colors, and aesthetics laid out by the house and the images of its use. That to this day continues informing a &ldquo;luxurious&rdquo; understanding of the city, as per <a href="https://www.youtube.com/watch?v=jKbR7u8J5PU" target="_blank">Pitbull and Chris Brown&rsquo;s &ldquo;Fun&rdquo; music video.</a></p> <p>This is the grounding logic we wanted to work through with the exhibition as a whole. Instead of bringing in archival material, the logic is re-performed and our study of the house gets incorporated into the exhibition design and promotional apparatus of the exhibition.</p> <p>&nbsp;</p> <p style="text-align: center;"><img alt="" src="https://s3.amazonaws.com/media.artslant.com/userimages/32120/1dkh/20161121180722-ArtCenter_An_Image_Enrique_Castro_Cid.jpg" style="width: 467px; height: 700px;" /></p> <p style="text-align: center;"><span style="font-size:14px;">Enrique Castro-Cid,&nbsp;Installation view of&nbsp;<em>An Image</em>&nbsp;at ArtCenter/South Florida.&nbsp;</span><span style="font-size: 14px; text-align: center;">Photo: Zack Balber</span></p> <p>&nbsp;</p> <p><strong>AP: You mention that the exhibition is &ldquo;an inherent political project&rdquo; that looks at &ldquo;image in relation to power structures and pseudo-agency&rdquo; referencing a &ldquo;history of anxiety,&rdquo; then tie these themes to the image of Miami as &ldquo;colonial fantasies of Latin America&rdquo; in your press release. Further to that, you assert that &ldquo;images are coded by different cosmologies in order to reconfigure the politics of visibility and presence.&rdquo; I&rsquo;m curious to know how or where these different cosmologies exist and am also interested in your thoughts related to these aspects of your statement.</strong></p> <p><strong>NZ: </strong>Alan Poma&rsquo;s <em>La Victoria Sobre el Sol </em>[Victory Over the Sun], which is the multi-media opera we are presenting at the conclusion of the exhibition that re-appropriates the Russian futurist play by the same name, is a good example of what we mean by the way in which different cosmologies code images. The play translates the opera both visually and linguistically to incorporate both Andean visions of the last moments of the solar system -- a story that has its origins in pre-columbian cultures. This incorporation is not in effect to translate the story, but to reclaim and decolonize the notion of futurity as a narrative that is strictly european in origin and in doing so re-situates the way in which that narrative has a <em>presence</em>, and is made <em>visible</em>; and that is inherently a political act.</p> <p>It&rsquo;s great that you picked up on the &ldquo;colonial fantasies.&rdquo; This was a slight jab at the idea that Miami is the &ldquo;gateway to the Americas&rdquo; or the &ldquo;capital of Latin America.&rdquo; This is language that has been disseminated by economic and tourist development boards in an effort to really sell Miami as that; but for us that idea pointed to a kind of colonial fantasy that doesn&rsquo;t play out through the dispossession of land or the acquisition of it for a nation state, but through a more pervasive form of economic colonialism. One key example that Domingo and I are always talking about is <a href="http://www.verizonenterprise.com/infrastructure/data-centers/north-america/nap/nap-americas.xml" target="_blank">NAP of The Americas</a>. This data site located just north of downtown Miami is where a large amount of internet traffic from the Americas is funneled through. So if you send an email, say, from Brazil to Chile, there&rsquo;s a chance it has to travel up here before reaching its destination. This subtle crossing of territories says more about Miami as a gateway and capital and the power structures that support and propel this vision forward than palm trees and sunsets do.</p> <p>&nbsp;</p> <p style="text-align: center;"><img alt="" src="https://s3.amazonaws.com/media.artslant.com/userimages/32120/1dkh/20161121180826-ArtCenter_An_Image_Installation_shot.jpg" style="width: 700px; height: 467px;" /></p> <p style="text-align: center;"><span style="font-size:14px;">Installation view of&nbsp;<em>An Image</em>&nbsp;at ArtCenter/South Florida.&nbsp;</span><span style="font-size: 14px; text-align: center;">Photo: Zack Balber</span></p> <p>&nbsp;</p> <p><strong>AP: What makes Miami unique in relation to other &ldquo;art worlds&rdquo;?</strong></p> <p><strong>DC:</strong> Miami is just another node within the larger network of Contemporary Art. A place of constant contestation, natural disasters, racial inequality, financial inequality, constant land (re)development, and the ecological harmony of the Everglades are a few things of many that constantly rub up against each other and have to be constantly negotiated. The politics of the image become almost obvious if we start thinking about the way that art has always been instrumentalized within the creation and development of this city&rsquo;s imagery. When used with this kind of awareness and agency images and art can be used as a great vehicle where one can act and possibly change the course or at least the conversation towards more radicalized and empowered futures.</p> <p><strong>AP: What are your top Miami picks for Art Basel week?</strong></p> <p><strong>NZ: </strong>To see:&nbsp;<a href="https://www.artslant.com/mia/events/show/427723-an-image" target="_blank"><em>AN IMAGE</em></a> :) and <a href="https://www.artslant.com/global/events/show/433501-sometimes-random" target="_blank">Lynne Golob Gelfman</a> at Noguchi Breton.</p> <p>To eat: <a href="http://www.chefcreole.com/" target="_blank">Chef Creole</a> (200 NW 54th Street in Little Haiti), <a href="http://www.lapalapahondurena.com/" target="_blank">La Palapa</a> (2699 Biscayne Boulevard in Edgewater), and <a href="http://www.lacamaronera.com/" target="_blank">La Camaronera</a> (1952 W Flagler Street in Little Havana).</p> <p>&nbsp;</p> <p>&mdash;Audrey L. Phillips</p> <p><em>Audrey Phillips is a Toronto-based writer. She is a regular contributor to AQNB.</em></p> <p>&nbsp;</p> <p><span style="font-size:14px;">(Image to top: Installation view of <em>An Image</em> at ArtCenter/South Florida. Harun Farocki and Alan Gutierrez. Photos: Zack Balber. All images courtesy of ArtCenter/South Florida)</span></p> Tue, 29 Nov 2016 19:23:06 +0100 https://www.artslant.com/ny/Articles/list https://www.artslant.com/ny/Articles/list The Artist Positioning Himself as Richter’s Crown Prince <p>Next year Eberhard Havekost turns fifty: time to balance the books. The press release for his current solo at KINDL positions Havekost &ldquo;among the most important German artists of his generation.&rdquo; The artist himself probably doesn&rsquo;t agree with an accolade this generic, especially when it&rsquo;s accompanying the kind of self-confident display of painterly power that is <em>Inhalt</em>. The show takes up two full floors and doesn&rsquo;t leave much wall space unused. The works on show are so diverse, they could have been created by three or four different artists.</p> <p>Most recognizable as Havekost&rsquo;s are the flat figurative paintings of everyday objects and scenes. They&rsquo;re based on photographs, either Havekost&rsquo;s own or found footage, which have been digitally enhanced and transferred to canvas with a minimum of depth or visible brushstroke. A lipsticked mouth blowing out smoke, a close-up of a sugar cube, a bent, tanned leg framing the ocean behind. It&rsquo;s imagery with a pop-art charm, somewhere between social and photo realism. And it is what it is. Only occasionally does Havekost allow himself an ironic wink, like in the <em>Transformers</em>-titled depiction of a car wreck.</p> <p>&nbsp;</p> <p style="text-align: center;"><img alt="" src="https://s3.amazonaws.com/media.artslant.com/userimages/32120/1dkh/20161120222950-KINDL_Havekost_01_300dpi.jpg" style="width: 413px; height: 700px;" /></p> <p style="text-align: center;"><span style="font-size:14px;">Eberhard Havekost, <em>Baum, B15</em>, 2015, Oil on canvas, 270 x 160 cm.<br /> Courtesy of Galerie Gebr. Lehmann and Anton Kern Gallery. Photo: Werner Lieberknecht</span></p> <p>&nbsp;</p> <p>Havekost&rsquo;s most vacant paintings are of dead screens, of TVs, computers, or mobile phones. The vast pools of grey nothingness hold promises of light and pigment but they turn out to be the dull opposite of everything painterly. In their off mode it&rsquo;s almost impossible to imagine we spend hours every day looking at them, our windows to the world. With sardonic delight Havekost exposes the soul of the virtual world in <em>Baum</em>: the colorful electronic bits inside a cracked iPhone are more real than the numb screen.</p> <p>With a series of iridescent works Havekost bounces to the other side of the spectrum. One triptych is even called <em>Light</em>. It&rsquo;s a depiction of basic physics but the result is both kitschy and hysterical. Havekost offsets these luminary explosions with measured color schemes, rhythmic compositions of six shades of secondary colors with titles such as <em>Copy + Property</em> or <em>Sch&ouml;ner Wohnen</em>. Here, the natural force of light and reflection has been categorized and domesticated.</p> <p>&nbsp;</p> <p style="text-align: center;"><img alt="" src="https://s3.amazonaws.com/media.artslant.com/userimages/32120/1dkh/20161120222918-KINDL_Havekost_M1_02_300dpi.jpg" style="width: 700px; height: 518px;" /></p> <p style="text-align: center;"><span style="font-size:14px;">Eberhard Havekost, Installation view of <em>Inhalt</em> at KINDL&rsquo;s Power House (first floor, M1). Photo: Jens Ziehe, 2016</span></p> <p>&nbsp;</p> <p>Up to this point the works in <em>Inhalt </em>can somehow be linked together, however diverse they may be. But Havekost rudely breaks this logic by adding half a dozen semi-abstract expressionist paintings, scattered across the walls, often right next to the flattest images in the presentation. The palette is geared towards contrast, the paint seems to have been forcefully smeared onto the canvas, attacked with sharp objects. To see <em>Zimmerpflanze</em> (House plants), a violent clash of sweeping greens, blacks, and yellows, right next to the perfectly realistic flowers in <em>Poison</em>, is nothing short of shocking.</p> <p><em>Inhalt</em> is Havekost flexing his painterly muscles. He obviously feels the need to showcase the full range of his skills. And he is explicitly competing with Gerhard Richter, the greatest German painter alive today, the best of not just his own but of all generations. The color schemes, the abstract work, the photorealistic images&mdash;they echo Richter&rsquo;s multi-faceted oeuvre. The standoff between the now 84-year-old Nestor and his would-be crown prince doesn&rsquo;t end favorably for Havekost, though. As Frieze critic Kristy Bell noticed in her review of his 2006 show at the Kunstmuseum Wolfsburg: &ldquo;Richter described the process of painting from photographs as being about making the banal &lsquo;more than just banal,&rsquo; but the problem with Havekost&rsquo;s paintings is that the banal just becomes more banal.&rdquo;</p> <p>&nbsp;</p> <p style="text-align: center;"><img alt="" src="https://s3.amazonaws.com/media.artslant.com/userimages/32120/1dkh/20161120222822-KINDL_Havekost_02_300dpi.jpg" style="width: 391px; height: 700px;" /></p> <p style="text-align: center;"><span style="font-size:14px;">Eberhard Havekost, <em>Gef&uuml;hl, B15</em>, 2015, Oil on canvas, 80 x 45 cm.<br /> Courtesy of Galerie Gebr. Lehmann and Anton Kern Gallery. Photo: Werner Lieberknecht</span></p> <p>&nbsp;</p> <p>What holds true for Havekost&rsquo;s photographically inspired paintings, applies to his entire body of work. Richter&rsquo;s works are about history and painting, memory and painting, identity and painting, a lot of different subjects combined with painting. Havekost&rsquo;s are only about painting. His subject matter is of secondary concern; the images are first and foremost shapes and colors. His large-scale reproduction of an illustration from a history book he received as a child might inspire mild bewilderment but his decision to paint it seems random. In that light the show&rsquo;s title, <em>Inhalt</em> (Content), feels deeply ironic. To be counted amongst the truly greatest painters of his age, however, Havekost needs to go beyond his noncommittal game of half-hearted references.</p> <p><em>Eberhard Havekost&rsquo;s </em><a href="https://www.artslant.com/global/events/show/433413-inhalt" target="_blank">Inhalt</a><em><a href="https://www.artslant.com/global/events/show/433413-inhalt" target="_blank"> </a>is on display at KINDL &ndash; Zentrum f&uuml;r zeitgen&ouml;ssische Kunst, Berlin, until February 19. 2017.</em></p> <p>&nbsp;</p> <p>&mdash;<a href="http://www.artslant.com/global/artists/show/356010-edo-dijksterhuis?tab=REVIEWS" target="_blank">Edo Dijksterhuis</a></p> <p>&nbsp;</p> <p><span style="font-size:14px;">(Image at top: Eberhard Havekost, Installation view of <em>Inhalt</em> at KINDL&rsquo;s Power House (second floor, M2). Photo: Jens Ziehe, 2016)</span></p> Sat, 26 Nov 2016 18:13:28 +0100 https://www.artslant.com/ny/Articles/list https://www.artslant.com/ny/Articles/list Pipilotti Rist Unleashes the Comforts and Terrors of the Technological Sublime <p>Entering the three-floor exhibition currently on view at the New Museum, everything immediately slows down. The lights are dim, colorful projections hitting almost every wall and surface, illuminating people and subsequently turning them into shadows. Some visitors sit, splayed out on a plush carpet to watch the wall-to-wall two-channel video projections, while others drift through flowing gauzy curtains, a soft warbling tune flooding the air. This digital playground is Pipilotti Rist&rsquo;s <em>Pixel Forest, </em>the first major retrospective of the Swiss artist, featuring works spanning her thirty-year career, all of which invite you to play, to see, to touch, to take off your shoes and stay a while. &nbsp;</p> <p>And the result is something like magic. Museum goers have the opportunity to place themselves as a subject in Rist&rsquo;s videos, with settings like <em>Looking Through Pixel Forest </em>(2016), a blinking and pulsating light installation, which transports you to a world filled with waves of emotive color. In an interview with curator Massimiliano Gioni in the show&rsquo;s catalogue, Rist says that her video installations now &ldquo;dematerialize ceilings and walls, opening them up, liquefying them with images.&rdquo; In turn, they liquefy the space between the viewer and the work itself, calling on the viewer instead to be a participant, an actor in her own experience.</p> <p>&nbsp;</p> <p style="text-align: center;"><img alt="" src="https://s3.amazonaws.com/media.artslant.com/userimages/32120/1dkh/20161118165528-Mercy-Garden_still__6_C2-Zunge08_still12korr.jpg" style="width: 700px; height: 394px;" /></p> <p style="text-align: center;"><span style="font-size:14px;">Pipilotti Rist, <em>Mercy Garden</em> (still), 2014, Two-channel video and sound installation, color, with carpet and sheepskin; 10:30 min, Dimensions variable. Sound by Heinz Rohrer. Courtesy the artist, Hauser &amp; Wirth, and Luhring Augustine</span></p> <p style="text-align: center;">&nbsp;</p> <p>But with screens exploded and fractured and re-directed, with the installation almost consuming the content itself, what do we as viewers take from these videos? Is there a more subversive message to be gleaned? Or do these elaborate installations essentially break down to formal experimentations in the possibilities of digital art? The reality is that this exhibition operates in multiple registers. It is egalitarian in its openness and ability to offer such delight, yet challenging in the subtle ways the works contradict standards of power, offering up a particular brand of technicolored feminism.</p> <p>Early works like <em>I&rsquo;m Not a Girl Who Misses Much </em>(1986) and <em>Ever Over All </em>(1997) perfectly encapsulate a feminist agenda, yet resist the didacticism of many of her predecessors. Rather in these works, we see a kind of maniacal energy and destruction, of a girl and her environment, in a way that is humorous and shocking at the same time. In <em>Ever Over All</em>, for example, Rist walks down a city street smashing car windows with a cast iron &ldquo;Redhot Poker&rdquo; flower&mdash;alluding to the final scene, which ends on a vista filled with the tropical flower. This feeling carries through to the single- and double-channel videos throughout the show. We see flashes of bodies amidst natural vistas and underwater worlds, a breast or mouth coming into view before the image is choked out by weeds or a burst of colorful patterns. Rist is asserting agency over bodies, worlds, the natural and suburban realms. In <em>Vorstadthirn (Suburban Brain) </em>(1999), she&rsquo;s built a diorama of any or every town, urging us to see how small it really is. She is transporting us to a different dimension, one where women can construct worlds as easily as break them down.</p> <p>&nbsp;</p> <p style="text-align: center;"><img alt="" src="https://s3.amazonaws.com/media.artslant.com/userimages/32120/1dkh/20161118165504-P59-3-org-_corr.thr_.jpg" style="width: 700px; height: 544px;" /></p> <p style="text-align: center;"><span style="font-size:14px;">Pipilotti Rist, <em>Ever is Over All</em>, 1997 (still), Two-channel video and sound installation, color, with carpet; 4:07 min, Dimensions variable. Sound by Anders Guggisberg and Rist. Courtesy the artist, Hauser &amp; Wirth, and Luhring Augustine</span></p> <p style="text-align: center;">&nbsp;</p> <p>Although many of these individual works contain this message, the spectacle of the installation blurs how we are able to view the show on a whole. For instance, one can focus on the show&rsquo;s social aspect, watching other museum-goers experience the installation through their own virtual means, capturing digital memorabilia in the form of iPhone pictures and videos to be shared long after the physical experience is over. Or one can try and block out the others in order to immerse herself in the architecture of the installation, following Rist&rsquo;s proposal and becoming an actor in the exhibition itself. Or one can simply grab a beanbag, and watch the videos play through their 5&ndash;15 minute loops, consuming passively but attentively.</p> <p>&nbsp;</p> <p style="text-align: center;"><img alt="" src="https://s3.amazonaws.com/media.artslant.com/userimages/32120/1dkh/20161118165610-Mercy_RIST-65166-Pipilotti-Rist_KH-Krems_Gnade-Donau-Gnade1_FotoLisaRastl.jpg" style="width: 700px; height: 467px;" /></p> <p style="text-align: center;"><span style="font-size:14px;">Pipilotti Rist, <em>Gnade Donau Gnade (Mercy Danube Mercy)</em>, 2013/15. Installation view: <em>Komm Schatz, wir stellen die Medien um &amp; fangen nochmals von vorne an</em>, Kunsthalle Krems, Austria, 2015. Courtesy the artist, Hauser &amp; Wirth, and Luhring Augustine. Photo: Lisa Rastl</span></p> <p style="text-align: center;">&nbsp;</p> <p><img alt="" src="https://s3.amazonaws.com/media.artslant.com/userimages/84518/3mfh/20161118220957-IMG_2648-2.jpg" style="margin-left: 10px; margin-right: 10px; float: right; width: 300px; height: 400px;" />But there is another side to the installations, one that moves away from the communal spectacle by fomenting unrest in the digital utopia you think you&rsquo;ve entered. These more solitary viewing experiences take the form of tiny iPhone screens buried in corners, playing single-channel videos that you almost have to crouch down to see. Or in a row of shard-like viewing stations mounted on either side of the long, narrow gallery on the second floor, each angular box [at right] fitted with a hole at the bottom allowing only one viewer access at a time. Looking down the exhibition space, this scene is as much a performance as the videos themselves, with people plugged into their stations, protected, yet strangely exposed. When you plunge into this confined space, you are consumed by the video and the music playing in your individual box; everything else dissipates.</p> <p>In stark contrast to the communal installations, these boxes produce a sort of ostrich effect, asking us to bury our heads in the sand and give in to the escapist aspects of entertainment, forcing us to close off from the world. It can be a disturbing scene&mdash;all those bodies with heads in the sharp, menacing viewing stations could easily be replaced with a subway full of people all plugged into their headphones, unaware of the world going on outside of themselves. Perhaps this is Rist&rsquo;s own little warning to us. She says to Gioni later on in their interview that &ldquo;I believe in the technological sublime. And the potential for terror has been a part of the sentiment of the sublime since back in the days of Romantic painting.&rdquo; In striving towards this new concept of the technological sublime through rapturous nature-inspired videos rendered as exploded projections, she is also revealing the terrifying reality of digital entertainment: that it can consume and distract us as much as set us free. &nbsp;But if we are sick with technology, perhaps the technological sublime is just the cure&mdash;as Rist says, &ldquo;like with a homeopathic remedy, for you to heal, you need the same thing that makes you crazy.&rdquo;</p> <p>&nbsp;</p> <p style="text-align: center;"><img alt="" src="https://s3.amazonaws.com/media.artslant.com/userimages/32120/1dkh/20161118165636-43-1gross-_corr.-thr_.jpg" style="width: 700px; height: 478px;" /></p> <p style="text-align: center;"><span style="font-size:14px;">Pipiloti Rist, <em>I&rsquo;m Not the Girl Who Misses Much </em>(still), 1986, Single-channel video, sound, color; 7:42 min. Sound by Rist after &ldquo;Happiness Is A Warm Gun&rdquo; (1968) by John Lennon and Paul McCartney. Courtesy the artist, Electronic Arts Intermix (EAI), New York, videoart.ch, Hauser &amp; Wirth, and Luhring Augustine</span></p> <p style="text-align: center;">&nbsp;</p> <p>In the final installation of the show, <em>4th Floor to Mildness</em> (2016), an underwater scene plays out on two amorphously shaped screens on the ceiling. I lie down on the beds set up beneath the projection, immediately settling into a kind of comfortable discomfort, allowing myself to feel at ease in this public, yet intimate space. The music calms, the waves of water and color and faces wash in and out of view. I never want to leave, I think, I could lie here forever listening to ethereal tunes and staring off at otherworldly visions. That is until a clot of dirt is thrown in the lens, reminding me of where I am, forcing me to pay attention.</p> <p>&nbsp;</p> <p>&mdash;<a href="http://www.artslant.com/global/artists/show/452624-olivia-b-murphy?tab=REVIEWS">Olivia B. Murphy</a></p> <p><em>Olivia Murphy is a writer and editor based in New York, covering arts and culture. Her work has appeared in various publications both in print and online, including&nbsp;</em>L&#39;Officiel Magazine<em>,&nbsp;</em>Freunde Von Freunden<em>,&nbsp;</em>Whitehot<em>,&nbsp;</em>Riot of Perfume<em>,&nbsp;</em>doingbird<em>, and&nbsp;</em>Whitewall Magazine<em>.</em></p> <p>&nbsp;</p> <p><span style="font-size:14px;">(Image on right: Photo: Olivia B. Murphy. Image at top: Pipilotti Rist, <em>Pixelwald (Pixel Forest)</em>, 2016. Installation view: <em>Pipilotti Rist: Dein Speichel ist mein Taucheranzug im Ozean des Schmerzes</em> [Your Saliva is my Diving Suit in the Ocean of Pain], Kunsthaus Z&uuml;rich, Switzerland, 2016. Courtesy the artist, Hauser &amp; Wirth, and Luhring Augustine. Photo: Lena Huber)</span></p> Sat, 19 Nov 2016 00:37:54 +0100 https://www.artslant.com/ny/Articles/list https://www.artslant.com/ny/Articles/list What do we do now? [Updating] <p>Farcical fascist, Donald Trump, will be winging his way through the next four years at the head of the United States government.&nbsp;</p> <p>Fuck this. Stay angry. Be helpful. Be safe.&nbsp;</p> <p>Artists have a duty to remain committed to the <a href="https://www.artslant.com/ny/articles/show/46686-beemlieemve-me-trumps-pussy-riot-and-artists-abandonment-of-their-political-legacy" target="_blank">critique of society</a> and while this list is not just art-related, our lives and our practices must confront and accept their political implications. Friends and family have been sharing resources &mdash;&nbsp;<em>thank you</em>&nbsp;to those of you who shared yours with us.&nbsp;Below is an updating list of resources and organizations for all vulnerable peoples and their allies to survive the orange times. Add any relevant community events or resources you think would be helpful in the comments. We will be updating this list for as long as necessary so please bookmark and share.</p> <p>&nbsp;</p> <hr /> <p><strong style="text-transform: uppercase;"><em>Educate:</em></strong></p> <p><a href="https://docs.google.com/document/d/1Gj6MWJmREmbx9C-mLHRPD29sSbvdp3ISuVAM088vZ7k" target="_blank">Radical Politics</a>&nbsp;-&nbsp;<span id="docs-internal-guid-6e88214d-7811-69f9-90ac-604a92ffbcc4"><span font-weight:="" new="" style="font-size: 16px; font-family: " times="" vertical-align:="" white-space:="">A reading list for undoing Amerika.</span></span></p> <p><a href="https://docs.google.com/document/d/10eA5-mCZLSS4MQY5QGb5ewC3VAL6pLkT53V_81ZyitM/preview" target="_blank">Open document of fake news sources</a>&nbsp;- Fake news played an outsized role in this election, do your best to call out fake news no matter their bias.</p> <p><a href="https://www.amnesty.org/en/latest/campaigns/2016/10/really-practical-ways-to-protect-your-privacy-online/" target="_blank">Online Privacy Best Practices</a>&nbsp;- Trump will have control of one of the most invasive security apparatuses in the world, protect yourself and your networks. Use different, non-sensical passwords for all your accounts, write them down on paper or use a <a href="https://www.wired.com/2016/01/you-need-a-password-manager/" target="_blank">password manager</a>&nbsp;which encrypts your password database.</p> <p>&nbsp;</p> <p><strong style="text-transform: uppercase;"><em>Security:</em></strong></p> <p><a href="https://twofactorauth.org/" target="_blank">Set-up Two Factor Authentification</a>&nbsp;- If you are at risk, secure all your accounts.</p> <p><a href="https://www.eff.org/privacybadger" target="_blank">EFF Privacy Badger</a>&nbsp;-&nbsp;Blocks spying ads and invisible trackers.</p> <p><a href="https://ssd.eff.org/" target="_blank">EFF Security Self-Defence Project</a>&nbsp;- Understanding digital privacy needs and tools to circuvent surveillance.&nbsp;</p> <p><a href="https://www.eff.org/https-everywhere" target="_blank">HTTPS Everywhere</a>&nbsp;- ensures you are always requesting a secure connection through your browser.</p> <p>Use PGP Keys for email communications - get public and private keys from <a href="https://keybase.io/" target="_blank">keybase</a>&nbsp;and use <a href="https://www.mailvelope.com/" target="_blank">mailvelope</a>&nbsp;to send secure communications.</p> <p>Use <a href="https://www.ghostery.com/" target="_blank">Ghostery</a>&nbsp;or <a href="https://www.eff.org/privacybadger" target="_blank">Privacy Badger</a> to block trackers while browsing.</p> <p>Set up a <a href="http://lifehacker.com/5940565/why-you-should-start-using-a-vpn-and-how-to-choose-the-best-one-for-your-needs" target="_blank">VPN</a>&nbsp;(Virtual Private Network).</p> <p>&nbsp;</p> <p><em><strong>EXTENSIONS:</strong></em></p> <p><a href="http://www.stopnormalizing.com/" target="_blank">Chrome extension</a> automatically changes &quot;alt-right&quot; to &quot;white supremacy&quot;.</p> <p>&nbsp;</p> <p><strong style="text-transform: uppercase;"><em>Survival Guides:</em></strong></p> <p><a href="http://www.theworldisaterribleplace.com/ohcrap/" target="_blank">http://www.theworldisaterribleplace.com/ohcrap/</a>&nbsp;-&nbsp;an open collection of&nbsp;<a data-slimstat-async="false" data-slimstat-callback="false" data-slimstat-clicked="false" data-slimstat-tracking="false" data-slimstat-type="2" href="http://www.theworldisaterribleplace.com/ohcrap/health-considerations/">health</a>,&nbsp;<a data-slimstat-async="false" data-slimstat-callback="false" data-slimstat-clicked="false" data-slimstat-tracking="false" data-slimstat-type="2" href="http://www.theworldisaterribleplace.com/ohcrap/the-legal-system-and-you/">legal</a>, and&nbsp;<a data-slimstat-async="false" data-slimstat-callback="false" data-slimstat-clicked="false" data-slimstat-tracking="false" data-slimstat-type="2" href="http://www.theworldisaterribleplace.com/ohcrap/responding-to-bigotry-and-harassment/">safety</a>&nbsp;plans and resources +&nbsp;<a data-slimstat-async="false" data-slimstat-callback="false" data-slimstat-clicked="false" data-slimstat-tracking="false" data-slimstat-type="2" href="http://www.theworldisaterribleplace.com/ohcrap/the-legal-system-and-you/queer-family-stabilization/">social</a>,&nbsp;<a data-slimstat-async="false" data-slimstat-callback="false" data-slimstat-clicked="false" data-slimstat-tracking="false" data-slimstat-type="2" href="http://www.theworldisaterribleplace.com/ohcrap/the-legal-system-and-you/anonymity-and-online-security/">digital</a>&nbsp;and&nbsp;<a data-slimstat-async="false" data-slimstat-callback="false" data-slimstat-clicked="false" data-slimstat-tracking="false" data-slimstat-type="2" href="http://www.theworldisaterribleplace.com/ohcrap/economics/">economic</a>&nbsp;security related resources.</p> <p><a data-saferedirecturl="https://www.google.com/url?hl=en&amp;q=https://docs.google.com/forms/d/e/1FAIpQLScGWE8zpTAqoLj6HMLGkKIoKRDVq2RMW_vH8jjh0OwyBGU0YA/viewform?c%3D0%26w%3D1&amp;source=gmail&amp;ust=1479565728349000&amp;usg=AFQjCNECPoh-fJZYHKwEdDqPZlPuoxeL9g" href="https://docs.google.com/forms/d/e/1FAIpQLScGWE8zpTAqoLj6HMLGkKIoKRDVq2RMW_vH8jjh0OwyBGU0YA/viewform?c=0&amp;w=1" target="_blank">Accompany a neighbor on their commute.</a> Not feeling safe in your community? Not willing to allow your neighbors to feel unsafe? Sign up to help.</p> <p>&nbsp;</p> <p><strong style="text-transform: uppercase;"><em>Participate:</em></strong></p> <p><a href="https://docs.google.com/spreadsheets/d/1vu0Y0HvadMgG_LN7dF8W7M66oPCcx_nmSARQWirV7iY/htmlview?sle=true#" target="_blank">#GrabYourWallet Boycott List</a>&nbsp;- An open document of companies involved with Trump and his organizations.</p> <p><a href="https://docs.google.com/a/artslant.com/forms/d/e/1FAIpQLSdT0A8y0nTKoILJmm97ZYsvMs7eRS3HFy7z2rej8CvJ8pSksw/viewform" target="_blank">Million Women&#39;s March</a>&nbsp;- Scheduled for January 21st, the day after the inauguration.</p> <p><a href="http://raf-i-a.tumblr.com/post/153188418768/payblacktime-is-my-white-money-transference" target="_blank">#PAYBLACKTiME</a>&nbsp;- Put your white guilt to good use and nourish people of color.</p> <p><a href="https://www.thedjtr.com/" target="_blank">The DJT Resistance</a>&nbsp;- Boycott and political actions organized by journalist Shaun King.</p> <p><a href="http://www.house.gov/representatives/find/" target="_blank">Call your Representatives</a>&nbsp;- Look up your rep and give them a call. Calling is the best way to get your voice heard.&nbsp;</p> <p><a href="https://www.facebook.com/events/328197007572923/" target="_blank">Direct Action Drop-in for Artists and Art Workers</a>&nbsp;at <a aria-controls="js_1kp" aria-describedby="js_1kq" aria-haspopup="true" data-hovercard="/ajax/hovercard/page.php?id=612792938787435" href="https://www.facebook.com/shandakenproject/" id="js_1kr" role="null">The Shandaken Project</a>- November 19, NYC -&nbsp;group POSTER-MAKING and community discussion about STRATEGIES OF CREATIVE NONVIOLENT RESISTANCE, and DIRECT ACTION PLANNING.&nbsp;</p> <p><a href="https://www.facebook.com/events/1629632697336749" target="_blank">Urgent Care</a> - November 19, Chicago -&nbsp;Symposium as: Therapy / Protest / Rebuttal / Open Dialogue / Resource / Grieving / Research / Empowerment / ___________</p> <p>&nbsp;</p> <p><strong style="text-transform: uppercase;"><em>Legal Help:</em></strong></p> <p><a href="https://docs.google.com/document/d/17Rj40_i39gTuo4hMNNmhToL0_NnJnzjnr3Tx90nTPfE" target="_blank">Concrete Guide to January for Vulnerable Peoples</a>&nbsp;- an open document with legal advice for populations who will be targeted by Trump</p> <p>&nbsp;</p> <p><strong style="text-transform: uppercase;"><em>Donate:</em></strong></p> <p>Gun Safety</p> <blockquote> <p><a data-saferedirecturl="https://www.google.com/url?hl=en&amp;q=http://everytown.org/&amp;source=gmail&amp;ust=1479565728350000&amp;usg=AFQjCNE5oVeo_rzt7ZutE1LYnK0cYKeXwg" href="http://everytown.org/" target="_blank">Everytown</a></p> <p><a data-saferedirecturl="https://www.google.com/url?hl=en&amp;q=https://momsdemandaction.org/&amp;source=gmail&amp;ust=1479565728350000&amp;usg=AFQjCNHk7TmLxCtck8ASLXUq_O2HwtedWA" href="https://momsdemandaction.org/" target="_blank">Moms Demand Action</a></p> </blockquote> <p>Reproductive Rights</p> <blockquote> <p><a data-saferedirecturl="https://www.google.com/url?hl=en&amp;q=http://www.naral.org/&amp;source=gmail&amp;ust=1479565728350000&amp;usg=AFQjCNEd_xyP5zBzenQ9I2qTtqpQ9vbTdA" href="http://www.naral.org/" target="_blank">NARAL</a></p> <p><a data-saferedirecturl="https://www.google.com/url?hl=en&amp;q=http://plannedparenthood.org&amp;source=gmail&amp;ust=1479565728350000&amp;usg=AFQjCNGH1oQgWVvC99YzW0fsn-uB0fj3hQ" href="http://plannedparenthood.org/" target="_blank">Planned Parenthood</a></p> <p><span style="font-size: 13.3333px; font-family: arial; vertical-align: baseline; white-space: pre-wrap;"><a data-saferedirecturl="https://www.google.com/url?hl=en&amp;q=https://www.abortioncarenetwork.org/abortion-care-providers/&amp;source=gmail&amp;ust=1479565728350000&amp;usg=AFQjCNEbHBQVvn7HpzspovHcxYRxa5I34Q" href="https://www.abortioncarenetwork.org/abortion-care-providers/">Abortion Care Network</a></span></p> </blockquote> <p>Environment</p> <blockquote> <p><a data-saferedirecturl="https://www.google.com/url?hl=en&amp;q=http://www.sierraclub.org/&amp;source=gmail&amp;ust=1479565728350000&amp;usg=AFQjCNHburziOmTI3X7c9abZ-eY2wFqBLg" href="http://www.sierraclub.org/" target="_blank">Sierra Club</a></p> <p><a data-saferedirecturl="https://www.google.com/url?hl=en&amp;q=http://www.lcv.org/&amp;source=gmail&amp;ust=1479565728350000&amp;usg=AFQjCNHc3hz8SkiHXNYKM7Zl9pEBi1uxAg" href="http://www.lcv.org/" target="_blank">​League of Conservation Voters</a></p> <p><a data-saferedirecturl="https://www.google.com/url?hl=en&amp;q=http://www.greenpeace.org/usa/&amp;source=gmail&amp;ust=1479565728350000&amp;usg=AFQjCNGE_L1n3ENFMF307hoq5KwC_jSEaQ" href="http://www.greenpeace.org/usa/" target="_blank">Greenpeace</a></p> <p><a data-saferedirecturl="https://www.google.com/url?hl=en&amp;q=http://junglekeepers.com/&amp;source=gmail&amp;ust=1479565728350000&amp;usg=AFQjCNG6XOshTbWc9k6a8O7z1OWe8wTmZA" href="http://junglekeepers.com/" target="_blank">Junglekeepers</a></p> </blockquote> <p>Racial Justice</p> <blockquote> <p><a data-saferedirecturl="https://www.google.com/url?hl=en&amp;q=https://eji.org/&amp;source=gmail&amp;ust=1479565728350000&amp;usg=AFQjCNHS2eYm37dprCxGx7cwquAPdPaAaA" href="https://eji.org/" target="_blank">The Equal Justice Initiative</a></p> <p><a data-saferedirecturl="https://www.google.com/url?hl=en&amp;q=https://www.splcenter.org/&amp;source=gmail&amp;ust=1479565728350000&amp;usg=AFQjCNHuYLc6AiZ2_JlLYW8tZzTbUR9bFA" href="https://www.splcenter.org/" target="_blank">Southern Poverty Law Center</a></p> <p><a data-saferedirecturl="https://www.google.com/url?hl=en&amp;q=https://colorofchange.org/&amp;source=gmail&amp;ust=1479565728350000&amp;usg=AFQjCNFr3mWbkkdK3oonnZ92-pKuHs2khw" href="https://colorofchange.org/" target="_blank">Color of Change</a></p> <p><a data-saferedirecturl="https://www.google.com/url?hl=en&amp;q=http://blacklivesmatter.com/&amp;source=gmail&amp;ust=1479565728350000&amp;usg=AFQjCNEX_W20IssatA28H1HX-CKOeHn3RQ" href="http://blacklivesmatter.com/" target="_blank">Black Lives Matter</a></p> </blockquote> <p>Civil Liberties</p> <blockquote> <p><a data-saferedirecturl="https://www.google.com/url?hl=en&amp;q=https://www.aclu.org/&amp;source=gmail&amp;ust=1479565728350000&amp;usg=AFQjCNHk26rBbbkYtnabFLXviSpmEcak-w" href="https://www.aclu.org/" target="_blank">ACLU</a></p> <p><a data-saferedirecturl="https://www.google.com/url?hl=en&amp;q=http://breadrosesfund.org/about/&amp;source=gmail&amp;ust=1479565728351000&amp;usg=AFQjCNGSAcK0H2S2HMmU8Anl8Zvg1V52Iw" href="http://breadrosesfund.org/about/" target="_blank">Bread and Roses Fund</a></p> <p><a href="https://supporters.eff.org/donate/button" target="_blank">Electronic Frontiers Foundation</a></p> </blockquote> <p>​LGBT</p> <blockquote> <p><a data-saferedirecturl="https://www.google.com/url?hl=en&amp;q=http://www.thetaskforce.org/&amp;source=gmail&amp;ust=1479565728351000&amp;usg=AFQjCNEp2psVSjdyL4Pg_X8y2Olwtu9Pkg" href="http://www.thetaskforce.org/">National LGBT Task Force</a></p> <p><a data-saferedirecturl="https://www.google.com/url?hl=en&amp;q=http://www.hrc.org/&amp;source=gmail&amp;ust=1479565728351000&amp;usg=AFQjCNEdCMRUQKGBHLB1itv19U1Sn28z3A" href="http://www.hrc.org/">Human Rights Campaign​</a></p> <p><a data-saferedirecturl="https://www.google.com/url?hl=en&amp;q=http://www.tgijp.org/&amp;source=gmail&amp;ust=1479565728351000&amp;usg=AFQjCNEGvTN529uXV2uMATCMravYw_uwqg" href="http://www.tgijp.org/">TGIJP (Transgender &amp; Intersex Justice Project)</a></p> <p><a data-saferedirecturl="https://www.google.com/url?hl=en&amp;q=http://paypal.me/transaffairsgnv&amp;source=gmail&amp;ust=1479565728351000&amp;usg=AFQjCNGYZKBif4LTpd2_iQlw6EygpdpCaA" href="http://paypal.me/transaffairsgnv">Trans Affairs</a></p> <p><a data-saferedirecturl="https://www.google.com/url?hl=en&amp;q=http://www.transjusticefundingproject.org&amp;source=gmail&amp;ust=1479565728351000&amp;usg=AFQjCNHZy2s72adb6zNli0Xhu9oWpGvGag" href="http://www.transjusticefundingproject.org/">Trans Justice Funding Project</a></p> <p><a data-saferedirecturl="https://www.google.com/url?hl=en&amp;q=http://transgenderlawcenter.org/&amp;source=gmail&amp;ust=1479565728351000&amp;usg=AFQjCNEFJ6R3JUvP45vqoQ6L3fr6_cpZUQ" href="http://transgenderlawcenter.org/">Transgender Law Center</a></p> <p><a data-saferedirecturl="https://www.google.com/url?hl=en&amp;q=http://familiatqlm.org/&amp;source=gmail&amp;ust=1479565728351000&amp;usg=AFQjCNGKOIWwPPjXoVNWqR29GNLc3lYiXg" href="http://familiatqlm.org/">Familia trans queer liberation movement</a></p> <p><a data-saferedirecturl="https://www.google.com/url?hl=en&amp;q=https://lgbtbookstoprisoners.org/&amp;source=gmail&amp;ust=1479565728351000&amp;usg=AFQjCNEQIQ5axDeCQYiqOx9ntiQXW3UWrw" href="https://lgbtbookstoprisoners.org/">LGBT Books to Prisoners</a></p> <p><a data-saferedirecturl="https://www.google.com/url?hl=en&amp;q=http://srlp.org/&amp;source=gmail&amp;ust=1479565728351000&amp;usg=AFQjCNEY7KwsoctIKSe_5WPZtefdaGxlsw" href="http://srlp.org/">Sylvia Rivera Law Project</a><span style="font-size: 13.3333px; font-family: arial; vertical-align: baseline; white-space: pre-wrap;"> </span></p> </blockquote> <p>Muslim Rights</p> <blockquote> <p><a data-saferedirecturl="https://www.google.com/url?hl=en&amp;q=https://www.cair.com/&amp;source=gmail&amp;ust=1479565728351000&amp;usg=AFQjCNHvQi12LFJSj0-gnfq964Kj5Z2wag" href="https://www.cair.com/">Council on American Islamic Relations</a></p> <p><a data-saferedirecturl="https://www.google.com/url?hl=en&amp;q=https://www.muslimjusticeleague.org/&amp;source=gmail&amp;ust=1479565728351000&amp;usg=AFQjCNH1wo4dcuQX7cGr6BiNqnvC4cv_iw" href="https://www.muslimjusticeleague.org/">Muslim Justice League</a></p> </blockquote> <p>Protecting Immigrants</p> <blockquote> <p><a data-saferedirecturl="https://www.google.com/url?hl=en&amp;q=http://www.immdefense.org/&amp;source=gmail&amp;ust=1479565728351000&amp;usg=AFQjCNH_5e3AoMumtc2xHtjjUlA1QMfd9g" href="http://www.immdefense.org/">Immigrant Defense Project</a></p> <p><a data-saferedirecturl="https://www.google.com/url?hl=en&amp;q=http://familiesforfreedom.org/&amp;source=gmail&amp;ust=1479565728351000&amp;usg=AFQjCNHc1E6LUE3OU6V9FtzagzGaQTeUzA" href="http://familiesforfreedom.org/">Families for Freedom</a></p> <p><a data-saferedirecturl="https://www.google.com/url?hl=en&amp;q=http://nmilc.org&amp;source=gmail&amp;ust=1479565728351000&amp;usg=AFQjCNFhpdQ5tZw3uBGlh1kpSESDdCRiWg" href="http://nmilc.org/" target="_blank">The New Mexico Immigrant Law Center</a></p> </blockquote> <p>&nbsp;</p> <p>Don&#39;t get distracted by the divisive rhetoric to come, think about how to build <a href="https://www.facebook.com/events/570643729795001" target="_blank">the next economy</a> to benefit us all.</p> <p>&nbsp;</p> <p>&nbsp;</p> Wed, 30 Nov 2016 16:39:38 +0100 https://www.artslant.com/ny/Articles/list https://www.artslant.com/ny/Articles/list GCC: Nation-making and the Power of Positivity <p>GCC&rsquo;s latest solo show <em>Positive Pathways (+)</em> at Mitchell-Innes and Nash features mixed media installations, thermoformed wall reliefs, and sound works. The show is an elaborate tongue-in-cheek reflection of the Arab Gulf States&rsquo; recent investment in New Age spirituality trends, from personal holistic remedies, natural healing energies, and positive life-coaching, to governmental policy making such as implementing Feng Shui techniques in ministry offices and the UAE&rsquo;s recent forming of a Ministry of Happiness. The regional unrest of the Arab Spring barely scratched the surface of the oil-rich Arab Gulf countries, not withstanding the political protests in Bahrain. Yet, it has curiously manifested into vast resources being funneled into self-branding and positivity propaganda&mdash;seemingly at odds with the cultural and religious frameworks of the region.</p> <p>GCC&rsquo;s members (or delegates<a href="#delegates">*</a>, as they call themselves) grew up in the Arab Gulf countries (namely Kuwait and Bahrain) but navigate highly mobile itineraries that can be followed through their social media accounts. They formed as a collective in 2013 during a visit to Art Dubai&rsquo;s VIP lounge. In their recent talk at Anthology Film Archives, the group mentioned that becoming a collective was almost happenstance: border control personnel in Dubai had asked them if they were traveling together as a band. Rarely together in the same place, their creative process takes place largely through mobile applications such as Whatsapp.</p> <p>&nbsp;</p> <p style="text-align: center;"><img alt="" src="https://s3.amazonaws.com/media.artslant.com/userimages/32120/1dkh/20161117173904-GCC_2016_Installation_View_040.jpg" style="width: 700px; height: 525px;" /></p> <p style="text-align: center;"><span style="font-size:14px;">GCC:&nbsp;<em>Positive Pathways (+)</em>, Installation view at Mitchell-Innes &amp; Nash, NY, 2016. Photo: Adam Reich. Courtesy of the artists and Mitchell-Innes &amp; Nash, New York</span></p> <p style="text-align: center;">&nbsp;</p> <p>The acronym GCC loosely references the Gulf Cooperation Council, an intergovernmental union that binds together the Arab Gulf States. According to the group, it also provides them with a layer of opacity. In <a href="http://dismagazine.com/discussion/65949/christopher-lew-interviews-gcc/">an interview</a> with Christopher Y. Lew, who in 2014 curated their first US show <em>Achievements in Retrospective</em> at MoMA PS1, they suggested that GCC could mean anything, such as &ldquo;Glendale Community College or Grupos Cementos de Chihuahua. It gives us a bit of a shield so that we are not just referencing political bodies.&rdquo;</p> <p>One of the works of <em>Positive Pathways (+) </em>revisits an installation shown earlier this summer at the Berlin Biennale. Titled <em>Positive Pathways (+) (Version II)</em>, it features a plaster sculpture of a woman (wearing a hijab and typical hijab attire) performing a Quantum Touch exercise&mdash;a non-contact touch therapy&shy;&mdash;on a young boy in front of her. They are surrounded by sand, and a running track, a reference to the designated walking areas for exercise common in some Arab Gulf countries. As alternative healing methods such as Quantum Touch and Reiki gain popularity in the Middle East, they have been coopted into everyday life, practiced and endorsed by everyone from government officials to dilettante practitioners and housewives on Instagram.</p> <p>&nbsp;</p> <p style="text-align: center;"><img alt="" src="https://s3.amazonaws.com/media.artslant.com/userimages/32120/1dkh/20161117173938-GCC_Gestures_I_136460.jpg" style="width: 700px; height: 401px;" /></p> <p style="text-align: center;"><span style="font-size:14px;">GCC, <em>Gestures I</em>, 2016, Thermoformed styrene with flocking, ed. of 3 + 2 AP, 17 3/4 x 37 1/4 in. Photo: Adam Reich. Courtesy of the artists and Mitchell-Innes &amp; Nash, New York</span></p> <p>&nbsp;</p> <p>The exhibition features a number of thermoformed wall reliefs titled <em>Gestures (I-V)</em> that are covered with a brazen red, velvety surface. The complex industrial process of thermoforming plastic is eclipsed by the banality of the images on the reliefs. TV presenters, audiences and random hand gestures, based on stills from YouTube, are placed against different backdrops including columns, plant pots, and dissonant phrases in Arabic and English. For example, <em>Gestures I</em> presents us with an image of a man wearing traditional headgear set against a backdrop of Grecian looking columns, partially covered in what seems to be algae. With a microphone in one hand, he holds out his thumb, index and middle fingers towards us. The English text asks, &ldquo;what is the secret behind it?&rdquo; The Arabic reads: &ldquo;the consultant Salim Hadeed.&rdquo;</p> <p>&nbsp;</p> <p style="text-align: center;"><img alt="" src="https://s3.amazonaws.com/media.artslant.com/userimages/32120/1dkh/20161117174011-GCC_Gestures_V_136470.jpg" style="width: 700px; height: 454px;" /></p> <p style="text-align: center;"><span style="font-size:14px;">GCC, <em>Gestures V</em>, 2016, Thermoformed styrene with flocking, ed. of 3 + 2 AP, 46 3/4 x 74 1/2 in. Courtesy of the artists and Mitchell-Innes &amp; Nash, New York</span></p> <p>&nbsp;</p> <p>In <em>Gestures V</em>, an obsession with social media celebrities, TV and Twitter clerics, foreign brands, and lifestyles is perfectly distilled in its contradictory relation with conservative identity politics. Seated women and men look up towards the ceiling. The women are in traditional clothing&mdash;hijabs and abayas&mdash;while the men seem to have more options: some are in suits, others in dishdashas. Despite the sartorial differences, they appear to be uniformly hypnotized.</p> <p>GCC&rsquo;s work seeks to bring the invisible and under-recognized popular culture of the region into conversation with contemporary art practices and discourse. The group often finds inspiration in found footage from YouTube made for branding purposes, content particularly fixed toward Gulf nation-making that in recent years has been premised increasingly on what could be called the tyranny of cheerfulness. The intentional opaqueness and playful ambivalence of the collective&rsquo;s name are qualities that extend throughout their work. For example, one of their previous exhibitions, <em><a href="http://projectnativeinformant.com/?project=gcc" target="_blank">Achievements in Swiss Summit</a>, 2013</em>, focused on rituals and cultural trends that are immediately identifiable to an audience from the Arab Gulf, such as ribbon cutting ceremonies and trophy productions. GCC is quick to point out, however, that the fanfare of self-congratulatory ceremonies are neither imported nor local. They combine stock imagery made for global commercial campaigns; recreate official summits and ceremonies (with some members in drag) in Morschach, Switzerland; and make actual trophies for the exhibition with the typical language (in Arabic) found on these commonly seen and distributed awards. What remains largely unseen&mdash;and what GCC effectively presents&mdash;is a critical reflection of the rituals, trends, and luxury brands that are subject to hyper-consumption in the region.</p> <p>&nbsp;</p> <p style="text-align: center;"><img alt="" src="https://s3.amazonaws.com/media.artslant.com/userimages/84518/3mfh/20161117192737-PNI.GCC005-WEBSITE.jpg" style="width: 700px; height: 467px;" /></p> <p style="text-align: center;"><span style="font-size:14px;">GCC, <em>Inaugural Summit, Morschach 2013 5</em>, 2013, Digital C-print photograph, 84.1 x 118.9 cm, Edition of 3 plus II AP. Courtesy of the artists and Project Native Informant</span></p> <p style="text-align: center;">&nbsp;</p> <p>It is often rather hard to make out the difference between the sardonic undertones of GCC&rsquo;s own work and the frequently hyperbolic found material that serves as their point of departure. It is exactly that moment of misrecognition in which I find GCC&rsquo;s work at its strongest: as they call the Gulf region&rsquo;s ideological regimes into question, without ever posing a question or even attempting to unpack the work for any audience, native or otherwise. As I walk away from the show I find myself wondering whether this is the Middle East that I know and inhabit, or some dystopian version of it? I cannot tell.</p> <p><a href="https://www.artslant.com/ny/events/show/429123-positive-pathways-" target="_blank"><em>GCC&rsquo;s&nbsp;</em>Positive Pathways (+)</a><em><a href="https://www.artslant.com/ny/events/show/429123-positive-pathways-" target="_blank">&nbsp;</a>is currently on display at Mitchell-Innes and Nash, 534 West 26th&nbsp;Street, New York, through November 23, 2016</em></p> <p>&nbsp;</p> <p>&mdash;Hend F. Alawadhi</p> <p><em>Hend F. Alawadhi is a PhD Candidate in Visual and Cultural Studies&nbsp;at the University of Rochester.</em></p> <p>&nbsp;</p> <p><span style="font-size:14px;"><a id="delegates" name="delegates"></a>* GCC delegates are: Nanu Al-Hamad, Abdullah Al-Mutairi, Aziz Alqatami, Barrak Alzaid, Khalid al Gharaballi, Amal Khalaf, Fatima Al Qadiri, Monira Al Qadiri</span></p> <p>&nbsp;</p> <p><span style="font-size:14px;">(Image at top: GCC, <em><u>Positive Pathways (+) (Version II)</u></em>, 2016, Reinforced plaster, sand, rubber and spray paint, ed. of 3 + 1 AP, Dimensions variable. Photo: Adam Reich. Courtesy of the artists and Mitchell-Innes &amp; Nash, New York)</span></p> Thu, 17 Nov 2016 21:11:34 +0100 https://www.artslant.com/ny/Articles/list https://www.artslant.com/ny/Articles/list In a Political Nemesis, Philip Guston Found His Greatest Muse <p>Although this exhibition of Philip Guston&rsquo;s archly satirical drawings of Richard Nixon was conceived long before last week&rsquo;s election, it could not have opened at a more opportune moment to illustrate Karl Marx&rsquo;s adage that &ldquo;history repeats itself, first as tragedy then as farce.&rdquo;</p> <p>Hauser &amp; Wirth has assembled selections of Guston&rsquo;s Nixon drawings, a series that the artist worked on over a period of several years when faced with a tumultuous personal and artistic crisis&mdash;changing his style from abstract to representational and changing galleries from the established Marlborough Gallery to his last gallery and champion David McKee&mdash;as well as the tumult of the Vietnam- Civil Rights-era Nixon administration. A refugee from the Manhattan art world, Guston moved to Woodstock, and there, along with his new best friend, Philip Roth, finally found a subject worthy of his skills as a political satirist&mdash;a modern-day Hogarth and Voltaire.</p> <p>There is a wonderful moment in Mel Brooks&rsquo; <em>The Producers</em> where the producers, in a bid to lose as much money as possible, create a musical farce specifically <em>designed</em> to lose as much money as possible. Seeking the lowest brow, they bring to life <em>Springtime for Hitler</em>, a kind of aborted <em>Sound of Music</em>. The classic line from the film, Brooks&rsquo; &ldquo;That&rsquo;s our Hitler!&rdquo; stands for that eureka moment when one&rsquo;s expectations of meeting the lowest common denominator have been met. Spoiler alert: the musical is a great success.</p> <p>&nbsp;</p> <p style="text-align:center"><img alt="" src="https://s3.amazonaws.com/media.artslant.com/userimages/32120/1dkh/20161115184316-GUSTO77512.jpg" style="height:414px; width:700px" /></p> <p style="text-align:center"><span style="font-size:14px">Philip Guston, Alone, 1971, Oil on canvas, 52 x 93 1/2 in. &copy; The Estate of Philip Guston. Courtesy Hauser &amp; Wirth</span></p> <p style="text-align:center">&nbsp;</p> <p>Anticipating the anomaly of this body of work in Guston&rsquo;s career, <em>In Bed II</em> and <em>Alone</em> (both 1971) give us the archetypal Guston figure, a vaguely Tin Tin-ish, round-headed figure, recumbent in a disheveled bed. He is illuminated by a bare lightbulb, the symbol of poverty and loucheness&mdash;&ldquo;I can&#39;t stand a naked light bulb, any more than I can a rude remark or a vulgar action,&rdquo; says Blanche DuBois in <em>A Streetcar Named Desire</em>&mdash;and is suffering under the weight of some heavily painted and heavy-looking objects, like books and sandwiches. Pretty stock stuff for Guston. Up until this moment, Guston had been, if not at the forefront of the Abstract Expressionist movement, at least a pretty faithful member of the cause. Possibly because of his early successes&mdash;well-funded teaching positions in Iowa and luminously beautiful abstractions reminiscent of Monet&mdash;Guston seemed mired in nothing so much as niceness. A terrible position for an artist to find oneself, especially following his well-received mid-career survey at the Guggenheim. But there had once been another Guston, an early Social Realist painter, whose works, like <em>Martial Memory</em> (1941) or <em>Drawing for Conspirators</em> (1930) showed both a leaning towards the work of the Mexican Muralists, as well as a leaning, well, Left, as well.</p> <p>A supersaturated solution, such as a glass of salt water, needs only one crystal to transform. Enter Philip Roth, the catalyst out of Guston&rsquo;s mid-career slump. Roth&rsquo;s satirical writing, heavily infused with a history of being an American Jew, was something Guston (born Phillip Goldstein) may have found invigorating, along with Roth&rsquo;s embrace of popular culture, politics (his <em>Our Gang</em>, a satirical novel about a character called Trick E. Dixon), vulgarity, and frank descriptions of human behavior, especially awkward sexual depictions. It is in particular Roth&rsquo;s vulgarity, a quality that bookish and WASPy New York culture found both fascinating and off-putting, that became an important element for Guston. In the context of Roth&rsquo;s writing it is significant to note that our word &ldquo;vulgar&rdquo; might connote both the original definition &ldquo;characteristic of or belonging to the masses&rdquo; as well as the more colloquial &quot;crude or distasteful.&quot; This is crucial to our understanding of Guston&rsquo;s transformative work with Nixon, changing him from what was becoming a popular political caricature to Guston&rsquo;s greatest muse.</p> <p>&nbsp;</p> <p style="text-align:center"><img alt="" src="https://s3.amazonaws.com/media.artslant.com/userimages/32120/1dkh/20161115184407-GUSTO77351.jpg" style="height:536px; width:700px" /></p> <p style="text-align:center"><span style="font-size:14px">Philip Guston, Untitled (Poor Richard), 1971, Ink on paper, 10 1/2 x 13 7/8 in. &copy; The Estate of Philip Guston. Courtesy Hauser &amp; Wirth</span></p> <p>&nbsp;</p> <p>Hauser &amp; Wirth have divided up Guston&rsquo;s folios, most of which are simply titled <em>Satirical Drawings</em>, into temporal-based groupings, providing us a view of the developing relationship Guston formed with Nixon over the four-year period. In <em>Nixon in Bed</em> (1971), which follows the format of Guston&rsquo;s bed-locked figures, we see a Nixon homunculus, not quite defined but in various states of distress. One drawing is inscribed &ldquo;a case of the measles,&rdquo; showing a spotty Nixon, his body (and we presume by metaphor, the body politic) in a state of sickness. From here Roth&rsquo;s influence becomes more apparent; Guston develops a Nixon character, a figure whose unshaven face sports a huge cock in place of a nose, which, like Pinocchio&#39;s, grows longer as Nixon lies. We see this in the series <em>The Presidency</em>, with Nixon in the company of his trusted henchmen Henry Kissinger (usually represented by a pair of horn-rimmed glasses, reminding us of Garry Trudeau&rsquo;s <em>Doonesbury</em> comic strip) and Spiro Agnew. The adolescent, graffiti-like quality of the phallus-nosed Nixon reminds us of Jon Stewart&rsquo;s recent Twitter spat with Donald Trump, where he dubbed the president-elect &ldquo;<a href="http://gawker.com/donald-trump-lashes-out-at-jon-stewart-for-revealing-hi-489657795" target="_blank">FuckFace von ClownStick</a>.&rdquo;</p> <p>&nbsp;</p> <p style="text-align:center"><img alt="" src="https://s3.amazonaws.com/media.artslant.com/userimages/32120/1dkh/20161115184507-GUSTO77397.jpg" style="height:536px; width:700px" /></p> <p style="text-align:center"><span style="font-size:14px">Philip Guston, Untitled (Poor Richard), 1971, Ink on paper, 10 1/2 x 13 7/8 in. &copy; The Estate of Philip Guston. Courtesy Hauser &amp; Wirth</span></p> <p>&nbsp;</p> <p>Not all the drawings are masterworks of wit, nor should they be. The greatness of these collections is that they are indeed greater than the sum of their parts. Nixon&rsquo;s lackeys wear KKK hoods, plot and scheme, and are probed by Nixon&rsquo;s nose. They speak in a hieroglyphic mock Chinese language, swim in Biscayne Bay, and travel to China, or at least a Chinese restaurant, replete with Fu dogs, coolie hats, and rice bowls. <em>Poor Richard </em>(1972), the most resolved of the folios, is a play on the fall of Nixon, as well as <em>Poor Richard&rsquo;s Almanac</em>, melding the visual and the narrative in clever play. Nixon&rsquo;s dog Checkers is rendered as a cubistic checkerboard, and Nixon&rsquo;s head is transformed into an ancient, pyramidal monolith, decaying under the weight of history.</p> <p>&nbsp;</p> <p style="text-align:center"><img alt="" src="https://s3.amazonaws.com/media.artslant.com/userimages/32120/1dkh/20161115184545-GUSTO77524.jpg" style="height:700px; width:562px" /></p> <p style="text-align:center"><span style="font-size:14px">Philip Guston, Untitled, 1975, Ink on paper, 24 x 19 in. &copy; The Estate of Philip Guston. Courtesy Hauser &amp; Wirth</span></p> <p>&nbsp;</p> <p>The exhibition ends with the <em>Phlebitis</em> paintings from 1975. Nixon, with an elephantine leg, bandaged and dragging behind him, resigns under the threat of impeachment and slouches off stage to Bethlehem. In the final drawing of the series, Guston shows Nixon on his deathbed&mdash;a bit of wish fulfillment, and a little premature. Perhaps Guston was nostalgic for, if not the literal death of Nixon, the Nixon that inspired such an outpouring of work. Guston would create another decade&#39;s worth of paintings, relying more heavily on art historical references&mdash;great paintings, but bloodless by comparison. Guston&rsquo;s hideous Nixon golem with elephantitis might be seen more as his <em>Olympia</em> than <em>Death of Marat</em>, such is the luscious delectation with which Guston paints his Hitler.</p> <p>&nbsp;</p> <p>&mdash;<a href="http://www.artslant.com/global/artists/show/216789-bradley-rubenstein?tab=REVIEWS" target="_blank">Bradley Rubenstein</a></p> <p><em>Bradley Rubenstein is a New York-based artist and writer.</em>&nbsp;</p> <p>&nbsp;</p> <p><span style="font-size:14px">(Image at top: Philip Guston, Untitled, 1971, Ink on paper, 14 x 11 in. &copy; The Estate of Philip Guston. Courtesy Hauser &amp; Wirth)</span></p> Tue, 15 Nov 2016 22:30:44 +0100 https://www.artslant.com/ny/Articles/list https://www.artslant.com/ny/Articles/list Relentlessly Dissecting Beauty, Marilyn Minter Gets at the Guts of Glamour <p><em>October saw the launch of&nbsp;A Year of Yes: Reimagining Feminism at the Brooklyn Museum, a yearlong series of ten exhibitions celebrating the 10th anniversary of the museum&rsquo;s Elizabeth A. Sackler Center for Feminist Art. The series&rsquo; first two exhibitions honor two unique feminisms. Today, we&rsquo;re taking a look at them both: Beverly Buchanan&rsquo;s&nbsp;</em><a href="https://www.artslant.com/ny/articles/show/46824-beverly-buchanan">Ruins and Rituals&nbsp;</a><em>and Marilyn Minter&rsquo;s&nbsp;</em>Pretty/Dirty<em>.</em></p> <p>&nbsp;</p> <p>A woman just beginning to show the signs of a life well-worn, with deeply impressed laugh lines and a made-up face sagging ever so slightly, stares almost seductively, or maybe placidly at you from her bed. A cigarette burns in her liver-spotted hand, the strap of her nightgown barely hangs on to one shoulder. The photograph is titled <em>Coral Ridge Towers (Mom Smoking) </em>(1969/1995), and as titled, along with the eight other photos in the series, it depicts the artist&rsquo;s mother in her Florida home. But there is a reason it took Marilyn Minter over twenty years to print and show this series.</p> <p>On a walk-through of her recently opened retrospective at Brooklyn Museum, Minter stops at the Coral Ridge Tower series, which begins the show, to recall how she didn&rsquo;t feel there was anything special about these photos when she took them&mdash;she was simply snapping photos of her mother in her apartment, doing the things she usually did. But upon showing them to some classmates, she realized that what she&rsquo;d captured was something entirely different. She saw what they saw: a woman defeated by the patriarchal standards of femininity.</p> <p>&nbsp;</p> <p style="text-align: center;"><img alt="" src="https://s3.amazonaws.com/media.artslant.com/userimages/32120/1dkh/20161110130743-Coral_Ridge_Towers__Mom_Smoking_.jpg" style="width: 700px; height: 543px;" /></p> <p style="text-align: center;"><span style="font-size:14px;">Marilyn Minter, <em>Coral Ridge Towers (Mom Smoking)</em>, 1969/1995, Gelatin silver print. Collection of Beth Rudin DeWoody</span></p> <p>&nbsp;</p> <p><em>Pretty/Dirty</em>, Minter&rsquo;s first major retrospective, explores this idea of abject beauty that we see running throughout her entire oeuvre&mdash;from her first student photographs, to her current paintings and videos. As a show, it is concise and clear cut, taking a few choice samples from each era of the artist&rsquo;s history in order to create a trajectory to understanding more fully how she arrived at her current work: the glossy, high production value, artificial colored, painted lips and lacquered nails&mdash;all resulting in what looks almost like Maybelline advertisements on acid.</p> <p>But the early works play an important role in understanding this largely misunderstood artist, because we see that there is a desire throughout to give agency to the unspoken, the overlooked, the scoffed, the embarrassing. Through the photographs, paintings, and videos she dissects this idea of beauty, a beauty that has been forced down the throats of women like her mother, a beauty that she herself would not be consumed by, rather she would turn in on itself, revealing the guts of glamour.</p> <p>&nbsp;</p> <p style="text-align: center;"><img alt="" src="https://s3.amazonaws.com/media.artslant.com/userimages/32120/1dkh/20161110130636-Big_Girls.jpg" style="width: 700px; height: 508px;" /></p> <p style="text-align: center;"><span style="font-size:14px;">Marilyn Minter, <em>Big Girls</em>, 1986, Enamel on canvas, 2 panels. Collection of Bill Contente, New York</span></p> <p>&nbsp;</p> <p>The first real hint of this after the early photographs is <em>Little Girls #1 </em>(1986) and <em>Big Girls </em>(1986), both of which depict a deconstruction of women&rsquo;s bodies via the media they are most widely represented in: magazines. Each painting is constructed from source images ripped apart and put back together, representing the scrutiny women&rsquo;s bodies are put through on a daily basis. This is the beginning of Minter&rsquo;s interest in reclaiming oppressive images from the media for her own feminist agenda.</p> <p>Included as well are her photorealist paintings of floors and sinks, mostly taken from her home and in her studio. Here, in a collision of the domestic realm with the workspace, we see that she trained her photorealist eye on the mundane, turning the ordinary into something beautiful, something to look at or even objectify. It&rsquo;s not until later in her career that she brings this technique back, focusing instead on the absurdity of realism&mdash;the freckles the fashion industry takes such pains to erase (<em>Blue Poles,</em> 2007), the stubble still visible in freshly shaved underarms (<em>Armpit</em>, 2006), the unsightly marks binding clothes leave on bodies (<em>Sock</em>, 2005). Even the close-up shots in <em>Plush </em>(2016) are beautiful, taking a kind of professional care to make each individual bush look like a star&mdash;a head shot for your vulva.</p> <p>&nbsp;</p> <p style="text-align: center;"><img alt="" src="https://s3.amazonaws.com/media.artslant.com/userimages/32120/1dkh/20161110130547-Armpit.jpg" style="width: 467px; height: 700px;" /></p> <p style="text-align: center;"><span style="font-size:14px;">Marilyn Minter, <em>Armpit</em>, 2006, C-print. Courtesy of the artist, Salon 94, New York, and Regen Projects, Los Angeles</span></p> <p>&nbsp;</p> <p>This sort of sexual glorification is also visible in her first hardcore porn paintings, like <em>Porn Grid </em>(1989). To a contemporary audience the paintings might seem quaint, portrayed in bright colors, with an almost cartoonish halftone dot matrix, which was actually a laborious hand-painted effect. In fact, the depictions may not even register as &ldquo;hardcore porn&rdquo; anymore, as we see things almost as graphic on HBO these days. But it&rsquo;s important to note that these paintings were coming out of a time wrought with identity politics, and just by daring to go tackle the issue of porn had established Minter as something of a feminist-outcast, a traitor to the rhetoric of the time, shunned as a perceived accomplice of oppression.</p> <p>Looking back we can see that she was taking a feminist stance that was way ahead of her time with these paintings. Minter, as a heterosexual woman, was reclaiming the oppressive images from porn in hopes to turn them on their head with a female sex-positive message. Porn has been a reality of our culture for longer than most like to admit, so by co-opting these images of consensual sex, she was giving women agency over their sexuality, agency to enjoy and indulge in their sexuality. Plus, she noted, &ldquo;no one has PC fantasies, anyways,&rdquo; so we might as well get it all out there in the open. She was also searching for subject matter that would indeed shock and alarm for the very fact that a woman was dealing with it, noting that &ldquo;if Mike Kelley could mine 13-year-old girl culture of mall culture, unicorns, crushes&hellip;&rdquo; the equivalent would be her mining hardcore porn.</p> <p>&nbsp;</p> <p style="text-align: center;"><img alt="" src="https://s3.amazonaws.com/media.artslant.com/userimages/32120/1dkh/20161110130449-Orange_Crush.jpg" style="width: 700px; height: 420px;" /></p> <p style="text-align: center;"><span style="font-size:14px;">Marilyn Minter, <em>Orange Crush</em>, 2009, Enamel on metal, 108 x 180 in. Private collection</span></p> <p>&nbsp;</p> <p>Her practice and eye have certainly grown and evolved along with the available technology, now incorporating higher production photo shoots, from which she constructs Photoshopped images, called &ldquo;cobbles,&rdquo; to create the perfect source image, from which she then makes her signature photorealistic enamel on metal paintings. She has moved away from the explicitly sexual, and back into a world of opulent sensuality. In the video <em>Meltdown</em> (2011), a silver-heeled and bejeweled foot dripping in metallic silver, kicks through an invisible plane of glass in slow motion. And paintings like <em>Drizzle (Wangechi Mutu)</em> (2010) and <em>Orange Crush</em> (2009) display similar dripping, metallic, almost ravenous mouths pouring over with glimmering substances.</p> <p>There&rsquo;s something insatiable about these paintings and videos. They contain a force that draws you in and pushes you away at the very same time, imploring you to consume them, much like their subjects slurp and taste and lick. Minter is creating seductive, yet off-putting steamy, frosty, wet, crystalized, shiny gem-filled fantasy worlds. You look in and look in, until you pull back, for fear of being consumed. This is the power of subverting the patriarchal gaze, the confinement and rule of imposed femininity&mdash;that the beauty and lust can linger along with the abject and repellent.</p> <p>&nbsp;</p> <p>&mdash;<a href="http://www.artslant.com/global/artists/show/452624-olivia-b-murphy?tab=REVIEWS">Olivia B. Murphy</a></p> <p><em>Olivia Murphy is a writer and editor based in New York, covering arts and culture. Her work has appeared in various publications both in print and online, including&nbsp;</em>L&#39;Officiel Magazine<em>,&nbsp;</em>Freunde Von Freunden<em>,&nbsp;</em>Whitehot<em>,&nbsp;</em>Riot of Perfume<em>,&nbsp;</em>doingbird<em>, and&nbsp;</em>Whitewall Magazine<em>.</em></p> <p>&nbsp;</p> <p><span style="font-size:14px;">(Image at top: Marilyn Minter, <em>Blue Poles</em>, 2007, Enamel on metal. Private collection, Switzerland)</span></p> Fri, 11 Nov 2016 13:21:50 +0100 https://www.artslant.com/ny/Articles/list https://www.artslant.com/ny/Articles/list Beverly Buchanan and the Architecture of Blackness <p><em>October saw the launch of&nbsp;A Year of Yes: Reimagining Feminism at the Brooklyn Museum, a yearlong series of ten exhibitions celebrating the 10th anniversary of the museum&rsquo;s Elizabeth A. Sackler Center for Feminist Art. The series&rsquo; first two exhibitions honor two unique feminisms. Today, we&rsquo;re taking a look at them both:&nbsp;Beverly Buchanan&rsquo;s </em>Ruins and Rituals<em> and Marilyn Minter&rsquo;s </em><a href="https://www.artslant.com/ny/articles/show/46826-relentlessly-dissecting-beauty-marilyn-minter-gets-at-the-guts-of-glamour">Pretty/Dirty</a><em>.</em></p> <p>&nbsp;</p> <p>How might we understand a spatial and architectural discourse that marks a black subjectivity? This is the question that lingers in my thoughts as I reflect on <em>Ruins and Rituals</em>, a retrospective exhibition presenting the work of the late Beverly Buchanan, now on view at the Brooklyn Museum&rsquo;s Elizabeth A. Sackler Center for Feminist Art. Sackler Family Curator Catherine Morris considers Buchanan a game changer, which is not untrue; I would consider Buchanan a witness.</p> <p>Beverly Buchanan was a black Southern woman. As a black Southern woman myself, many of those in my personal circles ascribe to this positionality a type of unspoken power. However, as <a href="http://4columns.org/d-souza-aruna/beverly-buchanan">critics</a> have already rightfully articulated, within the parameters of the mainstream (read: New York City) art world during the 1970s, 80s, and early 90s&mdash;the periods during which Buchanan was most active&mdash;to be Southern and black and woman often resulted in an overlooking. Buchanan worked anyway, creating a repository of site-specific earthworks, sculptures, self-portraits, and other assemblage objects that move across the schools of conceptual and land art, while responding to the idiosyncrasies of the geographies in which she lived. So, as the artist traversed multiple landscapes, so too did her ever evolving canon traverse the political histories of the land, which often revolved explicitly around blackness(es).</p> <p>Organized by guest curators Jennifer Burris and Park McArthur, <em>Ruins and Rituals </em>points a critical, unprecedented eye towards Buchanan&rsquo;s multi-disciplined oeuvre. (Full disclosure: I am now employed at the organization where McArthur was once an artist-in-residence.) The exhibition is divided among three galleries, resisting a chronological viewing experience while still offering an obvious thread of conceptual connectivity.</p> <p>&nbsp;</p> <p style="text-align: center;"><img alt="" src="https://s3.amazonaws.com/media.artslant.com/userimages/32120/1dkh/20161110165731-Untitled__Slab-Works_1_.jpg" style="width: 700px; height: 560px;" /></p> <p style="text-align: center;"><span style="font-size:14px;">Beverly Buchanan, <em>Untitled (Slab Works 1)</em>, circa 1978&ndash;80, Black-and-white photograph of cast concrete sculptures with acrylic paint in artist studio. Private collection. &copy; Estate of Beverly Buchanan</span></p> <p style="text-align: center;">&nbsp;</p> <p>Upon entering the Sackler Center, one is drawn towards Buchanan&rsquo;s <em>Frustuala</em> series: small, concrete blocks and columns the artist utilized as markers of presence, or, in some cases, the withering away of that which once was. When she began the series in the late 70s, Buchanan was employed in the public health field in New York and New Jersey. She used the stones to respond to the urban decay she was encountering, acutely aware that the materials she used to compose the works were also subject to weathering and aging. In a document on view in the archival section of the exhibition, Buchanan writes that she was &ldquo;...interested in urban walls when they [were] in various stages of decay; walls as part of a landscape.&rdquo;&nbsp;</p> <p>Buchanan&rsquo;s topographical engagement embodies critic (and close friend of the artist) Lucy Lippard&rsquo;s meditations on place&mdash;that is, a location in which space meets memory. <em>Marsh Ruins</em> (1981), for example, marks the memory of a group of Igbo slaves who drowned themselves off the coast of St. Simons Island, Georgia, as a way of resisting enslavement. Buchanan built these ruins in the marshes of Glynn, in Brunswick, Georgia, and in the show we encounter them via a video created by Burris, McArthur, and Jason Hirata. <em>Marsh Ruins</em> is a material reckoning with the earth in which its stone are planted, certainly, but also a physical (perhaps even spiritual) negotiation through unseen remnants of time.</p> <p>&nbsp;</p> <p style="text-align: center;"><img alt="" src="https://s3.amazonaws.com/media.artslant.com/userimages/32120/1dkh/20161110170452-Shack_Stories__Part_I_.jpg" style="width: 531px; height: 700px;" /></p> <p style="text-align: center;"><span style="font-size:14px;">Beverly Buchanan, with poet Alice Lovelace, <em>Shack Stories (Part I)</em>, 1990, Unpublished handmade book of ink and crayon drawings with watercolor and collaged typewritten text. Private collection. &copy; Estate of Beverly Buchanan</span></p> <p style="text-align: center;">&nbsp;</p> <p>The same might be said of Buchanan&rsquo;s small shack sculptures. It is in these works that we see the artist most vividly address a Southern, black, architectural vernacular. That is to say, the shack, in Buchanan&rsquo;s hands, is not merely a signifier of social status, but rather a framework&mdash;literally and figuratively&mdash;through which we might understand the nuances of black Southern life. The form represents an important site of social and familial interactions such as weddings, births, and religious gatherings. The centering of the shack as structure<em>&nbsp;but also&nbsp;</em>cultural idiom places blackness within the frame of reference for spatial inclusion, as architect Mario Gooden describes in his book&nbsp;<em><a href="https://www.arch.columbia.edu/books/catalog/3-dark-space-architecture-representation-black-identity">Dark Space: Architecture, Representation, Black Identity</a></em>. Through these loaded forms, Buchanan speaks to the particularities of a black Southern subjectivity, past and present.&nbsp;<em>Low Country House</em>&nbsp;(date unknown), a small, unpainted wood shack, is an eloquent illustration of Buchanan&rsquo;s deftness for the subtle processes of commemoration.</p> <p>&nbsp;</p> <p style="text-align: center;"><img alt="" src="https://s3.amazonaws.com/media.artslant.com/userimages/32120/1dkh/20161110170038-Low_Country_House.jpg" /></p> <p style="text-align: center;"><span style="font-size:14px;">Beverly Buchanan, <em>Low Country House</em>, date unknown, Wood. &copy; Estate of Beverly Buchanan, courtesy of Jane Bridges. Photo: Adam Reich, courtesy of Andrew Edlin Gallery, New York</span></p> <p style="text-align: center;">&nbsp;</p> <p>In the 90s, Buchanan also began to make assemblage pieces, often dedicated to or named after close friends, once again embodying experience and memory within material form. In the final gallery we see the bulk of this later work alongside a trove of photos, letters, and other textual ephemera produced by Buchanan throughout her life. In this room, though full of works ostensibly different in form, we still encounter Buchanan&rsquo;s entanglement with space, object, and memory. Here, the artist turns inward, tracing a personal relationship to the people she loved and the spaces she called home. In one black and white photograph, <em>Hunger and Hardship Creek</em> (1977/1994), Buchanan grips a sign pole with her right arm while staring intently at the camera. In an untitled, undated photocopied business card, she has drawn an image of herself as working artist/good cook/drama queen/safe driver. She is naming herself.</p> <p>McArthur and Burris have gifted us with a well-deserved exhibition that offers a full picture of the prolific artist. The curatorial narrative surrounding the exhibition is concise and direct, some may argue approaching the didactic. But, for me, the texts and exhibition materials feel extremely important as a narrative tool, especially when Buchanan is unfamiliar to many who will first encounter her story through this exhibition.</p> <p>&nbsp;</p> <p style="text-align: center;"><img alt="" src="https://s3.amazonaws.com/media.artslant.com/userimages/32120/1dkh/20161110170211-Untitled__The_Doctor_will__if_you_re_lucky__see_you__now_.jpg" /></p> <p style="text-align: center;"><span style="font-size:14px;">Beverly Buchanan, <em>Untitled (&ldquo;The doctor will, if you&rsquo;re lucky, see you, now.&rdquo;)</em>, July 1993, Unpublished writing in notebook. Private collection. &copy; Estate of Beverly Buchanan</span></p> <p style="text-align: center;">&nbsp;</p> <p>In <em>Dark Space</em> Gooden goes on to remark that &ldquo;...the black female body occupies a space within the matrix of subjectivities and bodies, and as such, its spatial praxes, whether visible or invisible, yield its potential agency to reference its own self.&rdquo; Gooden makes this statement with specific regard to the ways blackness has (or has not) tended to operate within spatial and architectural theories and dialogues. Buchanan then, it can be argued, transgresses the boundaries of seen and unseen in order to map a non-linear grid, a dark <em>place</em>, to borrow again from Lippard, where blackness is represented through memory, structure, or through her own image, her body.</p> <p>&nbsp;</p> <p>&mdash;<a href="http://www.artslant.com/global/artists/show/417193-jessica-lynne?tab=REVIEWS">Jessica Lynne</a>&nbsp;</p> <p><em>Jessica Lynne is co-editor of&nbsp;<a href="http://www.arts.black/">ARTS.BLACK</a>.</em></p> <p>&nbsp;</p> <p><span style="font-size:14px;">(Image at top: Beverly Buchanan,&nbsp;<em>Untitled (Double Portrait of Artist with Frustula Sculpture) (detail)</em>, n.d. Black-and-white Photograph With Original Paint Marks, 8&frac12; x 11 in. Private Collection. &copy; Estate of Beverly Buchanan)</span></p> Fri, 11 Nov 2016 13:22:37 +0100 https://www.artslant.com/ny/Articles/list https://www.artslant.com/ny/Articles/list Simone Leigh Salutes the Complexity of Black Women’s Self-Representation <p style="margin-left:60.0pt;"><em>The most disrespected person in America is the black woman.<br /> The most unprotected person in America is the black woman.<br /> The most neglected person in America is the black woman.</em></p> <p>This excerpt from Malcolm X&rsquo;s 1962 speech, &ldquo;Who Taught you to Hate Yourself?,&rdquo; which recently resurfaced in Beyonc&eacute;&rsquo;s&nbsp;<em>Lemonade</em>, resonates and takes form at&nbsp;<em>Hammer Projects: Simone Leigh</em>, curated by&nbsp;<a href="https://www.artslant.com/la/articles/show/46676-the-curator-as-advocate-spotlight-on-ica-las-jamillah-james" target="_blank">Jamillah James</a>. Engaging with notions of racial commodification, assimilation, code switching, and body image, Leigh reveals a certain darkness and developed grace in the life of&nbsp;the black woman in America today.</p> <p>From the lobby of The Hammer, we see the exhibition&rsquo;s central work:&nbsp;<em>Cupboard V</em>. This large-scale installation, covered with raffia and evoking the form of a hut from sub-Saharan Africa, occupies the full height of the gallery. As we curve around the outside of the structure, we encounter a series of five figurative works in clay. Each piece depicts a loosely rendered black female figure adorned with tiny flowers, which sit atop each head. These floral headdresses recall the marble busts of women from the Hellenistic period&mdash;one of the foundational eras of western aesthetics.</p> <p>&nbsp;</p> <p align="center"><img alt="" src="https://s3.amazonaws.com/media.artslant.com/userimages/32120/1dkh/20161102115132-Simone-Leigh-Install-04.jpg" style="width: 550px; height: 569px;" /></p> <p align="center"><span style="font-size:14px;">All images: Installation view of&nbsp;<em>Hammer Projects: Simone Leigh</em>, Hammer Museum, Los Angeles,<br /> September 17, 2016&ndash;January 8, 2017. Photo: Brian Forrest</span></p> <p align="center">&nbsp;</p> <p>The flowers evoke this western, whimsical, sensibility while each body engages with the formal language of African ceramic vessels, effectively alluding to its material history. The chromatic and constructional contrasts between these elements is striking and begins to tell a story of divergent cultures, assimilation, and code switching. Each floral headdress is a delicate costume on a rough black body, speaking to the place and purpose of adopted visual norms in African American public presentation. The association calls to mind the media hype surrounding Michelle Obama&rsquo;s period of &ldquo;natural hair,&rdquo; the image of Viola Davis carefully securing her auburn, straight-haired wig before going to court in&nbsp;<em>How to Get Away with Murder</em>, and even former MSNBC sports commentator Don Imus&rsquo; description of the Rutgers women&rsquo;s basketball team as &ldquo;nappy-headed hoes.&rdquo; Through these works, Leigh reveals the product of the social requirement of black women to wear a western (white) costume, aligning herself with those aesthetics as a channel for social acceptance.</p> <p>&nbsp;</p> <p align="center"><img alt="" src="https://s3.amazonaws.com/media.artslant.com/userimages/32120/1dkh/20161102115230-csm_Simone-Leigh-Install-06_896a44e28e.jpg" style="width: 700px; height: 425px;" /></p> <p>&nbsp;</p> <p>Further, Leigh&rsquo;s use of a similar, seemingly interchangeable, black base form for each bust brings to mind notions of racial commodification. The vessel-sized scale of these works paired with their serial placement on a wall wedge alludes to the idea of the black woman as an object for consumption and use. From this perspective, these works speak to the impact of the suppressive forces that dilute the specifically African and give rise to what we begin to experience and perceive as African-American. This cultural critique of the white power structure that enforces the need for assimilation engages a learned cultural need to make white people comfortable with a black presence as a prerequisite for positive reception. The one figure without a headdress,&nbsp;<em>No Face</em>, anchors this concept. In this work, the familiar black base form has a wreath of black flowers surrounding an opening where a face would otherwise be, indicating a loss of agency and humanity as a consequence of non-conformity.</p> <p>Completing our circular progression around the hut, the concept of perception and performance gains power as we find the entrance to the structure. Inside, an early model television rests on the ground, playing a video of a black woman in a gold dress dancing to a slow, haunting melody heard throughout the room. As we look down upon this display, the dancer intently rehearses a routine in an empty studio while lifting one side of her dress to reveal two ankle rattles used in African dance. The cultural intersection in this video, contextualized by the hut, displays the literal &ldquo;song and dance&rdquo; performed by black women in the west for passage through a white world.</p> <p>&nbsp;</p> <p align="center"><img alt="" src="https://s3.amazonaws.com/media.artslant.com/userimages/32120/1dkh/20161102115300-Simone-Leigh-Install-07.jpg" style="width: 467px; height: 700px;" /></p> <p align="center">&nbsp;</p> <p>The full meaning of the hut emerges as a representation of the body via architecture. Our initial viewpoint of the installation from the Hammer lobby gave us an interpretation of the black body as a primitive being, reduced to the giant, potentially threatening, and problematized nature of its construction in the west. Now, standing on the opposite side, we face a window into the interior world of the being it represents.</p> <p><em>Hammer Projects: Simone Leigh</em>&nbsp;presents us with works that are at once elegant and challenging, beautiful and dark, revealing and layered with symbolism that cogently captures the contemporary complexities of black female reality. While the black woman may still be a disrespected and unprotected figure in America, Leigh reminds us that her identity, experience, and world is certainly not to be neglected.</p> <p>&nbsp;</p> <p>&mdash;<a href="http://www.artslant.com/global/artists/show/428290-alex-anderson?tab=REVIEWS" target="_blank">Alex Anderson</a></p> <p><em><a href="http://www.alexanderson.us/" target="_blank">Alex Anderson</a>&nbsp;is a Los Angeles-based artist, an MFA candidate at University of California, Los Angeles, and a former resident artist at the China Academy of Art as a Fulbright Scholar. He completed his undergraduate studies at Swarthmore College.</em></p> Fri, 04 Nov 2016 23:31:15 +0100 https://www.artslant.com/ny/Articles/list https://www.artslant.com/ny/Articles/list