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.
Tlön and In extenso are glad to presents “Resource Operations,” a solo show by Berlin-based French artist Antoine Renard in two parts. “Part I (The Monks’ Corridor)” occurs simultaneously at Tlön in Nevers, while In Extenso hosts “Part II (Eden Park).”
The exhibition will present a new body of works, which builds on Reith’s previous series of collages, wood works and drawings. Juxtaposed with bold shapes the artists’ recurring themes such as architectural spaces, landscapes and artifacts are distilled down to their most essential elements. The minimalist images evoke a sense of ceaselessness fuelled by Reith’s search to find a balance between impending loss and the lightness of being.
Smile! You Are in Spain is the slogan of a well-known, five year-long advertising campaign launched in 2004 to promote tourism in Spain. It captioned photographs of young people enjoying Spain, surrounded by sunny landscapes, at unspoiled beaches or in front of iconic monuments, immersed in an inviting atmosphere suitable for culture, leisure and sports. The purpose was to convey an image of Spain as the ultimate tourist destination, an earthly paradise and the land of sun and fiesta. Such conservative campaigning, which put an emphasis on a slow-paced and pleasant lifestyle, succeeded in capturing the stereotypes and clichés traditionally associated with the country, nurturing this appealing, peculiar image of Spanish vitality and cheerfulness in the minds of potential tourists. Throughout the years of the campaign and following more than a decade of sustained economic growth, Spain was badly affected by the global financial crisis of 2008; while promoting such an ideally positive take of Spain under Juan Miró’s sunny emblem, the country was inwardly succumbing to a profound and severe economic downturn.
Sarah & Charles’ (1981 & 1979) work is muldisciplinary: installations, sculptures and videos, alternated with soundscapes, performance and photographical work. Always enveloping a broad range of techniques, each applied according to the ideas it wants to transmit. Apart form the studio work, they’ve been commissioned artworks on public space and created several scenographic concepts for dance and theater – in their country and abroad. Their collaboration is extended in large-scale projects such as the short films they’ve produced in the past couple of years. They live and work in Brussels and their collaboration goes back as far as 2004.
For his first solo exhibition at Roman Road, Cuban artist Victor Payares, who is soon to complete an MFA at the Royal College of Art in London, has been commissioned to create a site-specific installation that expands on his new investigation of exploring ways of simulating memories through his artistic practice.
John Armleder (b. 1948, Geneva) is a singular figure in postwar art. His career spans five decades and synthesizes many of the competing aesthetic developments associated with that period. Such productive friction animates his earliest work with the Groupe Ecart in Switzerland, his many projects informed by his association with the Fluxus movement, and his interest in John Cage’s work in particular. Moreover, his groundbreaking approach to painting incorporates elements of sculpture, installation, design, performance, and radical conceptual provocation. That he has been able to operate on so many fronts at once, approaching each exhibition as an uncompromising and often unpredictable work in and of itself, has made him a seminal artist of his generation worldwide and one of the defining and most characteristic voices in Swiss art since World War II.
The title directly comes from a found object, a random sticker on a door of a comic figure sitting at a desk with piles of study books. Above the comic are the words 'Silence, Genious at work' which is a straight reference to its studying aspect. This is Laureyns and Grunewald's interpretation of the art practice itself and the myth or the romantic idea of the artist seen as a sublime or idealized human being. On the other hand it shows self-relativization of the artist practice in our current time. The sticker itself, partially torn, ripped off, is the testimony of time.