For her first solo show in a Parisian institution, Laure Prouvost presents “Ring, Sing and Drink for Trespassing”; an exhibition manifesting as an escape that is both psychological and geographical. The Palais de Tokyo is transformed into a space where nature is purported to have taken over from humanity. Inspired by global warming, the exhibition invites us to explore and celebrate ambiguity by being at once intimate and expansive. Messages elsewhere spill over from the confines of the exhibition: “IDEALLY THIS PLANT WOULD GROW BOOBS AND PRODUCE MILK” or “IDEALLY HERE WOULD BE A SMALL CRACK IN THE WALL YOU COULD PASS THROUGH” in a demonstration of cognitive delinquency for both language and space. Through these multiplying and concertinaing viewpoints, “Ring, Sing and Drink for Trespassing” operates as an ode to diagonal lines, the transcending of limits and the joy of slipping over a fence to discover a wasteland. Or, a now-abandoned but marvelous garden, in which the artist has discovered a forgotten dystopic biological laboratory.
Graffiti-like scrawls, canvases with semi-familiar faces, and tactile, bulbous sculptures in an array of bright colours – “Stitchingthecracks” at Kristin Hjellegjerde London, presents an investigation, reinterpretation and recontextualization of the meaning of the everyday. While different in approach, the works of Richie Culver, Lauren Dicioccio and Pedro Matos share an investigation of abstraction, colourways and humanness, as we navigate our way through a messy world.
In 2018. Between the self and the self there is always the other
A. We are in 2018. SWe are still far from 16 December 16, 2040, our hundredth birthday, yet we are but yet we are getting closer to the 11th July 11, 2023, the date of our alleged death.
B. We are in 2018! We can write our 14th telegram for the Serie di merli disposti ad intervalli regolari lungo gli spalti di una muraglia. If we sent it today we would write 16.700 days ago it was 2 May 2, 1971, which means. It is also 400.800 hours ago, 1.422.880.000 seconds ago.
Eduardo Secci Contemporary is pleased to present the exhibition "Collector's Choice," curated by Art Collector Claus Busch Risvig, consisting of the works by Luca Pozzi, Martin Lukac, Ricardo Passaporte and Kristian Touborg. The collective exhibit will feature the works by these four international artists and will be inaugurated at the gallery's headquarters, in Piazza Goldoni 2, Florence, on July 5th, 2018, at 6 pm.
The exhibition is based on the social and critical theory of Zygmunt Bauman (1925−2017) that speaks about ‚Liquid Modernity’ in the book with the same title published in 2000 in Cambridge. Liquid modernity is a consequence of globalization. Bauman examines how we have moved away from hardware-focused modernity to a liquid software-based modernity that caused profound changes in to all aspects of the human condition. The instantaneous time of the software world is immediate but also leads to exhaustion and fading interest. If solid modernity posited eternal duration as the main motive ‚Fluidity’ is the metaphor for the present stage of era.
Taking a fictional data-analysis company called Adcredo as her starting point, Holder explores the role that online networks can play in the construction of belief. Holder expands this fictional world to examine the rise of unjust ideologies and fantasies, and how they might affect our worldview. The large scale installation at QUAD sees the gallery transformed into a hellish, nightmare landscape. Embedded into a large imposing rock face – evoking the deep passage of time – are two large projection screens featuring well-known personalities, representing avatars that Holder has worked with across the project. In an adjacent space, a display by the company behind Adcredo; their purpose, according to their website, is to ‘help organisations or bodies implant their ideologies in communities around the world, both on and offline. It’s our vision to support people in being able to connect, network, interact and form an opinion of the world they live in.’ Adcredo’s company website can be seen at www.deepbelief.network — a specially constructed website made by the artist for the project. The work develops a series of avatars that Holder has worked with across the project. CGI talking heads stand in for Kanye West, Donald Trump, Vladimir Putin and Peter Thiel alongside otherworldly creatures drawn from the artist’s online research into conspiracy theory and synchromysticism. The work exists against a techno-socio-political backdrop of fake news, conspiracy theory, cyber-espionage and political populism.
Béla Pablo Janssen (BPJ) presents ten works from his last three years‘ work in his first institutional solo exhibition in Cologne under the title „Mit Wenig nach Venedig“ (With Little to Venice). BPJ interprets the world through drawing and film, he creates recurring motifs, which permeate an archive of visual experiences, creating a continuity that runs right through to his current work. Drawings and paintings, posters, pub- lications, found-objects or objects, create a tangible representation of an artist‘s life. Similar motifs emerge in different contexts, which help us establish a connection to the personality of the artist – to our perception of what an artist is, and to the real person. In „Mit Wenig nach Venedig“ BPJ puts his delight in having exchanges with people, and in the work he carries out during his journeys, at the centre of a possible narrative.
Trawling through the digital sphere’s ‘ocean of signs’, Katja Novitskova (b. 1984, Estonia) creates immersive environments inhabited by a luminous bestiary. She is known for her dramatic, cutout images of animals at play with representations from financial and scientific sources. Her latest installation presents a landscape overcome by a ‘biotic crisis’, where imaging and technology are used in a process of mapping the exploitation of life.
The exhibition has been created for the CCA Kunsthalle and presents, for the first time together, works by these five artists who live in Oslo, Brussels, Berlin and Boston. Invited by Are Blytt, the artists have also been given the opportunity to work in the four studios at CCA Andratx as Artists-in-Residence during the month of June 2018.
Initially organised as a weekly event, ‘Young Girl Reading Group’ was established in 2013 by Dorota Gawęda and Eglė Kulbokaitė referencing Tiqqun’s Preliminary Materials For a Theory of the Young-Girl; a non binary and ageless protagonist identified as a product of consumer society. Organised around feminist inspired theory and fiction, Gawęda and Kulbokaitė first conceived YGRG as an intimate discursive space within the experience of collective reading then subsequently extending it into the domain mediated through the Internet, social media and immersive installation.
The first artwork I saw by Nina Beier was her performance Tragedy, which she has staged a number of times, but this particular version took place at Metro Pictures in New York on a muggy night in June 2012. Tragedy stars a dog laying on a Persian rug, splayed out and stock-still, playing dead. The performance inspires double takes on different emotional registers; the first is the need to confirm that one is seeing a live animal and not a hyperrealistic sculpture. After a few seconds of observation, one realizes, yes, the dog is shallowly breathing. But then one wonders how this dog is able to keep it together in a hot room filled with a hundred people. The dog isn’t exactly zen. It is still, but its somewhat anxious stare is directed at one person in the crowd. The dog’s trainer is mixed in with the gallery visitors, reassuringly staring back at the animal with a gaze that invokes supreme trustworthiness, indicating the praise, biscuit or whatever reward will be granted to the performer for a job well done. I am not sure how long the performance lasts, it could be anywhere from five minutes to a half hour. Time gets a bit suspended while watching Tragedy.
“I won’t send you two pages about my work, but I’ll send you my playlist and my references. I can’t write about my work, it’s complicated, it will be pretentious. I, as an artist, has a vision about something, and cannot pretend to be someone else, who has a vision about my vision. It’s not the artist’s job to try to analyze the works, it will become vulgar. One can’t be the actor and the critic... You will have to try to contextualize it, make sense of it, put it all together”.
The artists were invited to deepen the title of Milan Kundera's novel The Unbearable Lightness of Being in a fascinating dialogue between weights and voids that express themselves through the medium of painting.
Matt Mignanelli is best known for his intricate paintings of grids inspired by light, shadow, and architectural elements present in the urban landscape. Mignanelli explores permutations of the geometric forms while recording the element of chance associated with his freehand process in drips of paint that he allows to splash on the canvas as he works. The work in the exhibition will introduce expressionistically painted abstract fields of color alongside of the gridded compositions for which he is best known.
A new site-responsive installation by Toronto-based Laurie Kang, A Body Knots coalesces several threads of research and creation, animated by the artist’s deep curiosity with science studies, science fiction, feminist theory, and personal and cultural history. As a twin, Kang considers these discourses and their combined impact on understandings of bodies as individual and specific, while also imagining possible shared micro-level blueprints. Most recently, Kang’s attention has turned to epigenetics—the study of how one’s genetic makeup is expressed or suppressed in relation to environment. The blueprint itself doesn’t change but how it expresses itself is mutable. The field is a groundbreaking rethink of the old nature versus nurture binary, speaking to an interrelation of the inherent biological code of an organism and how, through wide-ranging environmental factors, that code is amplified or repressed.
In the melancholy of the chroma Blue of Prussia, we see immersed the after death of King Louis II of Bavaria, in “Tomber Dans Le Lac”. To fall into the lake, an expression that in French means to fall into a world of illusions, is the diving board of Lázaro Matos to perform a tragicomic acrobatics on the perils of dazzle. Ironically, it was on the Lake Starnberger that the defunct body of Louis II of Bavaria was found, three days after being deposed.
I tried to show you the best parts of me, the most edgy, composed, winking and generous of futile details, and I turned my silhouette into its own artifact orthogonal essence. Three plans, three quarters, simultaneously. Fractionated segments, carefully selected to make sure you will look at me.
The exhibition finds its most literal correspondence in both the daily life and imagination of Pierre Clement. We visualise the artist in his studio, behind his computer, searching within survivalist sites, surfing on conspiracy theorists, among which: Above Top Secret «The oldest pessimists website. It talks about everything without any hierarchy, goes from biology through ufology, down to Donald Trump. Above top secret could possibly be the title of a film by Terry Gilliam, evoking a nightmare of a future nuanced by a hymn to love. An antiphony within which, Pierre Clement would unveil, to the apocalyptic sound of «The war of the worlds”, scenes of disasters and other lines of an anticipation novel.
Looking at technology and its evolution/development is one way of perceiving the simultaneity of things: What exists at the same time in various places, can be obsolete in one and necessary in another. Everything connects, but the evolving steps in technology are only slowly getting globalized. Since we finally had the epiphany, that history is not a singular narrative, but a multitude of storylines, perspectives and shifts, how would it be possible to capture a fraction of our time in an adequate way? When the concept of progress fails where does our need for a narrative driven plot lead us to and can it branch out into the periphery? This question is similar to the idea to describe where our present begins, or ends. Technology evolves so quickly – currently, and over the past 160 years – that it always pushes the present into a state of flux and future, affordable for the one, problematic for the other, but always only in one direction: ahead. Improvements, innovations and recycling of ideas pushes the lifespan of our lives, as well as the boundaries of our bodies in a new a continuous quest of understanding our place in time, space and society. This never ending loop of the not natural, accelerated and technology invested life is also our way to look for a better future, to overcome limitations and boundaries, but is also inevitable.
Doubles have always greatly interested philosophers; especially those focused on aesthetics studies. The search for something that is concealed behind an image has been dismantled even before the dawn of the phenomenology through which a new meaning of doubles was introduced, or, better, a new feeling. This feeling isn't new, but rather a primordial feeling, probably the most ancient, pure, naïf and harmonic, or, in other words, one dating back to Ancient Greece.