For years, I have been interested in the missing elements of a tale, of history, and thinking about what those left-out parts say about ourselves. This is prevalent on many of my works from the last 15 years (You could name almost any of them; What Happens in Halifax Stays in Halifax, Unspoken Dailies, Have You Ever Seen The Snow…). The hollow parts of a tale, I have learnt, are only visible when one puts tight attention to what surrounds them, to what defines them. The forms in this bi-dimensional works are defined by a set of instructions set in the hope to find the hollow parts of a narrative, the forms that define the missing parts.
Will Boone has become recognized for paintings, sculptures, and ambitious installations that draw content from sources outside of art historical contexts. He is particularly interested in subcultures and images associated with the broader American social landscape; these include punk music, bar culture, the automotive industry, horror movies, cattle ranching, and conspiracy theories. Boone mines these sources for iconic forms, borrowing their methodologies and technical processes to render objects full of graphic power and remarkable physicality.
“FRIENDS, I shall ask you to be as quiet as possible. I don't know whether you fully understand that I have just been shot; but it takes more than that to kill a Bull Moose. But fortunately I had my manuscript, so you see I was going to make a long speech, and there is a bullet - there is where the bullet went through - and it probably saved me from it going into my heart. The bullet is in me now, so that I can not make a very long speech, but I will try my best.”
Inspired by two complementary universes, the flora and fauna, these forms with Symbolist echoes, influenced by logos, flags, image libraries and devoid of details, emerge from the walls of the gallery taking, on the first floor, the aspect of proud birds of prey and, on the lower floor, those of trees of different species. Sharp outlined silhouettes which, through the use of vectorial rendering digitally developed by the artist, space Pop Art to Minimal Artreferences.
Rachel Uffner Gallery is pleased to present an exhibition of new works by Sara Greenberger Rafferty. For her fifth solo show with the gallery, Rafferty has created a suite of works in kiln-formed glass – a new process and medium for the artist. Using a limited palette, Rafferty’s glass works function as image, screen, and material. They are transparent and translucent images formed and deformed by the kiln’s metamorphic heat and the intrinsic properties of glass.
Human subjectivity of non-human entities and their environments is shaped by distinct cultural patterns encoded in society's acts, languages and processes. By concretely naming the non-human; rituals, ceremonies, liturgies and rits are a fundamental basis of our social ecosystems. These processes give rise to a complex set of cultural categories that both constitute a sense of difference and establish various forms of relationship between humans, objects, animals and natural forces. Such categories also project particular forms of relation within human communities, defining our understanding of demographic, identitarian and economic interactions.
Beneath the Surface tackles the issues concerning the image, from its creation to its distinctiveness, as well as the dynamics of its transmission and the concrete integration within a support. More specifically, through painting, the works by the two authors question the expressive possibilities that emerge from the interactions implicated by environmental contexts and the media. In such a process, the observation and the causality of both the stimulus and of interactions gains vital importance; a state in which we're not drawn to understand the differences between high and low registry, between personal and universal, between intelligible content and hermetic form. The exhibit's works document how the artwork – an image in itself – is the final and distilled form of the infinite possibilities that appear during a constant process of selection, rejection and metamorphosis.
Hybrids builds upon the theme of the exhibitions Luster and Disruption, which Lustwarande presented in 2016 and 2017: the Anthropocene perspective. This show concludes the triptych but approaches the theme from a completely different starting point, that of the ‘post-internet’ generation. ‘Post-internet’ refers to the generation that, since childhood, has grown up with digitisation and the internet.
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”.