647(a) by American artist Dean Sameshima, featuring a new series of “documentary paintings” based off of the artist’s media archive, and a continued investigation of queer desires and nostalgia through the method of documentary.
In those days of summer which reached forty degrees and higher, the white cats seemed to be particularly prolific. These scorched ghosts lurked among the streets and I couldn’t but help envision each one as a sort of pure white grim reaper, ready to pounce at any moment.
An urge to visualise and scrutinise an imagined future has been tied with humans for centuries, may it be through the witchcraft of the crystal ball or on the contrary, through the somewhat more realistic assumptions of speculative fiction, the roots of which are in this case, grounded within an adequate knowledge of the real world. Looking back into the late nineteenth and the following twentieth century, where the multiplicity of imagined futures developed together with concepts of a speeding modernity, we are faced with an arena where the probable became gradually possible and the gap between the imagined and the lived, shifted from a diminishing distance to a greater proximity.
A painter and printmaker, Teague lives and works in Copenhagen, Düsseldorf and London. He received his BFA from the Duncan of Jordanstone College of Art, Dundee, rounding out his education with a residency at the Lepsien Art Foundation in Düsseldorf (2016–2017). He discovered his vocation as a painter in 2008, when he visited the Cy Twombly retrospective at Tate Modern, London. Since then he has followed the paths charted by Agnes Martin in minimalist abstraction, the brand of expressionism and informal art practised by artists like Joan Mitchell, Raoul De Keyser, David Ostrowski and Óscar Murillo, and the post-conceptualism of Christopher Wool.
This exhibition consists of five tableaus made of pressed wool, dyed with natural materials and cut with pressurized water. The images inscribed and materials used were chosen to reflect a few of the ways that women work. Some of these images may look familiar to you: a rendering of Courbet's The Grain Sifters and The Sleeping Spinner, while some of these scenes may feel familiar to you: women trading in influence, selection, assistance and care by communicating, designing, aiding, sifting, listening, responding, crafting and up-scaling.
Giorgio Galotti gallery, on the occasion of the opening of the new space, is thrilled to present the first solo show by Piotr Skiba. The exhibition presents two works in a deep dialogue between them and realised specifically for the new location; one, environment related and the other of reduced size. The intervention aims to match two basic elements of Piotr’s approach: on one hand the brightness of the materials involved, on the other hand the artisan process that confers a rather primitive aura around which his research process is developed.
Descriptions of works of art go astray. Words and numbers are as fugitive as infinity. Actually, I would prefer to tell you less and less about the art in front of you. Perhaps an uninterrupted hum would be the best description of the art you see. I will now sing a hum of my own composition: HMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM MMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM...
In statistics, the notion of Dispersion denotes the extent to which a distribution is stretched. Standard Deviation is the most commonly used measure of dispersion and it plays a key role also in the explanation of some physical phenomena, such as - in accordance with the Fluctuation theory - the reason why the sky is blue.
Aujourd’hui has already covered some iconic cities in its gallery guides, but London was our most challenging gallery guide to date. The city’s appetite for quality art extends to its museums, colleges and art institutions, being capable of creating a contemporary art buzz like few others around the world. In a city where you can appreciate everything, from the most promising young artists to the top of the pops art stars, London is the definitive city for contemporary art in Europe.
Every year, we become obsessed with a different word containing the prefix “post-”. “Post-truth” was the Oxford English Dictionary’s word of the year in 2016, cynically and officially giving us a lexical tool for discussing the incomprehensible absurdity of the world post-Brexit, post-Trump. It is our linear temporal vision that makes “post” particularly heartbreaking (more so than “non” or “anti”): “post” doesn’t just mean that something is absent; it means that it is gone, behind us in time as we float helplessly forward without it. Even though “post-“ typically attaches itself to critical thought, it is the product of the same illusion of departure, of loss, that makes Americans long for the intangible “again” of Trump’s #MAGA.
Conceived according to a pathway made up of different ‘affective zones’, “All Watched Over by Machines of Loving Grace” brings together several artists who examine the impact of the market economy and new technologies on the production of our emotions and their representations.
Brian Kokoska’s first solo installation in Canada, is a haunting domestic environment. Remnants of fabricated and found objects, sentimental belongings from deceased family members, altered collectibles and other memorabilia adorn the artist’s gestural paintings of androgynous figures.
Artists: Kader Attia; Julius von Bismarck; Pakui Hardware (Neringa Černiauskaitė & Ugnius Gelguda); Kuai Shen; Julijonas Urbonas; Rimantas Jankauskas, Šarūnas Jatautis and Ieva Mitokaitė; Iwona Janicka; Vida Motiekaitytė; Egidijus Rimkus, Dovilė Keršytė and Justas Kažys; Oksana Valionienė, Aistis Žalnora
Laura Bartlett Gallery is currently showing &, the third exhibition at the gallery by Simon Dybbroe Møller. & brings together two recent solo exhibitions that took place at the 21er Haus in Vienna and Kunsthalle Sao Paulo respectively. The show Lettuceextends Dybbroe Møller’s interest in the photographic through non-photographic means while Cormorous deals with how our relationship to the body has changed along with the image technologies transitioning from analogue to digital.
The exhibition revolves around ideas of constructed identities, social labelling and stereotypes. It brings to the space new and recent artworks by Lucas Blalock, Simon Denny, Maggie Lee, Woody Othello, Hannah Perry, Lui Shtini and Anna Uddenberg. All these artists play with these socially constructed identities, and dramatically alter their forms so to expose the frailty and vulnerability that is hidden behind their naïveté. The creative alteration of social stereotypes that is presented in this group show leads to a multitude of misunderstandings that is precisely what these artists look for in their yet different practices. Indeed, such transformations and subsequent misinterpretations provide those forms, bodies and objects with the possibility of a defence in front of the inquisitive eye of the viewer. Their metamorphosis occurs as a way to safeguard the still unexpressed potentialities of their identities, that may want not to be completely seen, even when they ask to be seen differently.
In the exhibition Fredrik Åkum presents three newly produced series of work. Shirt (2015-2016), an ongoing series of paintings all deriving from a detail of a personal photograph. rough painting Åkum wants to investigate how to depart from the origin by using the paintings themselves as new sources, a way to find an autonom gesture. Like a torn bootleg each repetition takes a step from it’s source, the paintings mimics each other.
Over the past five years, Lucía Pizzani has been inexhaustibly developing a series of projects that focus simultaneously on historical or literary narratives revolving around female figures and in the ongoing processes of biological transformation found in the natural world. In each of her projects, the collision of these seemingly disparate areas of interest generates a multifarious body of works spanning a variety of mediums – including photography, ceramics, videos, drawings, performances and installations – in which the female body takes centre stage. But far from the idealised and fetishised images of this body as traditionally disseminated through Western art and media, Pizzani’s pieces present us with pulsating organic forms that are at once arrestingly erotic and almost abject; bodies as living organisms in a constant state of becoming.
‘Trajectory’ is the title of the solo exhibition that Yorgos Stamkopoulos has created especially for Galleria Mario Iannelli in Rome. The exhibition is a unique location-based work which is born from the distinctive coexistence of the painter’s work on the walls of the architectural space - fragments of monochrome colours, combining freely to create a composition that brings the environment to life and/or renders it uniform - and a series of sculptures that scan the space and characterise discovery.