Barry McGee is an artist who takes uncertainty and unpredictability as his guiding principles. Every exhibition is different. He arranges paintings, drawings, sculptures, found objects, and works by other artists into freely improvised installations that roam across the walls, floors, and ceilings of an exhibition space. In the past, his installations have featured everything from robotic graffiti writers to entire shipping containers and automobiles.
It had been speculated that the world would end in 2012, or at the very least mankind would enter a new eon. While the date came and went without a bang, unbeknownst to most humans on earth it may have actually happened, as we replaced our own minds as the smartest things on earth with quantum computing.
Many cultures hire mourners to participate in funerals. They are a chorus, they are decoration, they are guides to the underworld and guides to the range of feelings that come with grieving. In Matthew Dickman’s poem Grief, grief comes as a purple gorilla. He writes: “We sit for an hour / while she tells me how unreasonable I’ve been, / crying in the checkout line, / refusing to eat, refusing to shower, / all the smoking and all the drinking. / Eventually she puts one of her heavy / purple arms around me, leans / her head against mine, / and all of a sudden things are feeling romantic. / So I tell her, / things are feeling romantic. / She pulls another name, this time / from the dead, / [...]”.
Thomas van Linge's work embraces popular culture, musical heritage and the effects of technology and commodification on contemporary society. For Deep Down Inside he has created a series of sculptures that mimic the form and function of heavy duty flight cases, acting as archives for a reimagined history of electronic dance music. The Velociraptor-narrated short film follows a similar thread, aligning natural, industrial and cultural phenomena through the notion of sound as a conveyor of the past. Thomas consecutively runs two experimental dance music record labels, BAKK and RUBBER. He also performs under his music moniker Randstad.
Tilman Hornig’s works emerge from a reaction to current events. His way of working is both intuitive and conceptually cross-media.
For his solo exhibition “Flipmode” in the gallery Gebr. Lehmann the artist has developed a new series of works with white wall paint and the European flag. The flag with its centered circle of stars, stretched in square format on frame, is extensively painted and presented as a rhomb. Each of the works remains untitled and is similar in form and aesthetics.
A new installation of paintings by New York–based artist Nate Lowman in Galleries 2 and 3 explores the timeless, palpable concept of desire using imagery and language drawn from American popular culture. Angels, poppies, hearts, pine-tree air fresheners, smiley faces, iconic celebrities, crosses, and news articles—all presented through the lens of desire and longing—tell part of the American story and confront viewers with the things of modern life that are often left unsaid and unexamined (Aspen Art Museum).
André Butzer is one of the most relevant contemporary German artists. His work explores the possibilities of the pictorial medium and develops a personal and strongly expressive universe. Butzer’s paintings reference German and American history, culture and politics, art history, science fiction, comics and animation.
Perrotin Paris is proud to present “Chasing Rainbows,” Josh Sperling’s rst exhibition with the gallery. The exhibition brings together a number of new works by the New York-based artist: composites—or shaped canvases and plywood panels—a series of monochrome canvas reliefs, and a large-scale installation.
These four works sum up the mood I’ve been in for the past few months. I've been reminiscing about my family when I was growing up, the trips we made cross-country skiing on glowing slopes in the Norwegian pitch-black winter, I remember we were thirsty with no water in the mountains and being told: 'if you are thirsty, drink your spit' but in a loving way. Then camping in moist green plastic tents in the forest in summer and trips abroad - five kids melted onto brown vinyl seats in a mustard yellow Volkswagen mini bus on the motorways from Oslo town to Venice, Italy and discovering on arrival this small shop filled with Murano glass objects, its trippy vases burning themselves into my child-brain, now literally burned by my heaters onto my canvas or linen, making surely sure I won't forget. My sister and I bought a small glass object each; colourful glass candy and a fish, proper tourists.
THE COURT, the newly created concept space in Pescara, has the pleasure to present the first exhibition project Voyage au bout de la nuit curated by Maurizio Vicerè - Vice and with the participation of the artists Cosimo Casoni, Andrea Martinucci and Marco Strappato. The exhibition will take place in the new Law Firm Di Pietro - Lucchi in Piazza della Rinascita, 24 Pescara.
A few centuries ago, art and science were not such different and separate fields, as we know them today. They had many points of correlations and coexistence. As practitioners in the art field we are aware of the color studies in art history, but color dictionaries were also developed in the field of natural studies as a means of describing and communicating the examination of nature.
Supplement is pleased to present the first solo exhibition in London by Dominic Samsworth. Samsworth works across painting, sculpture and installation. His past exhibitions have challenged and critiqued the gallery as a ‘leisure environment’, exploring the idea of the gallery as a symptom of the extravagances and excess of consumer lifestyle. For the exhibition Samsworth has created an installation that spreads across the entirety of the floor accompanied by two large wall works.
Tomorrow is Obsolete. By putting tomorrow in the past tense, the show that gathers artists Joachim Coucke and Nicolas Pelzer tells us about a world where digital technology, Internet and social networks are not a projected and fantasized image anymore, but a physical envelope. Between abandoned vestiges and morphology of data, both their works try to restore a physicality to the immaterial.
The Browsing Chamber explores the relation between process-based artists and the contemporary image culture. Five young international talents will exhibit works in a salon-style exhibition that will cover the entire surface of the backspace of the gallery, from floor to ceiling. All participating artists make process-based abstract works, which relate to painting in a systematic manner. These young artists are inspired by their largely digital surroundings and the way images are indexed on the Internet. The neatly organized grids of images provided by search engines have become a point of first contact for people interested in the work of an artist. This exhibition strategy can be viewed as a three-dimensional interpretation of a google image search. Entering the backspace should speak of human scale and our interaction with artworks grounded in their materials.
Sprüth Magers presents FOREVER, a new site-specific work by Barbara Kruger. For this installation, which occupies all four walls and the floor of the Berlin gallery’s main exhibition space, the artist has created one of her immersive room-wraps and several new vinyl works. Their boldly designed textual statements on the nature of truth, power, belief and doubt embody the distinctive visual language that Kruger has developed over the course of her forty-year career. This exhibition at Sprüth Magers, Berlin, marks exactly three decades since her first solo show at Monika Sprüth Gallery in Cologne.
The new Sustainable Development Goals (SGD) acknowledge the value of public space in creating sustainable cities. By looking at existing methodologies and considering additional indicators on accessibility, cities may find an effective path for meeting their goals. Successful town planning incorporates public areas to provide critical space for residents to breath and maintain an active life.
(Source: The City Fix™, produced by World Resources Institute Ross Center)
Spanning the entirety of the museum’s newly designed second floor, good evening beautiful blue by Ugo Rondinone is part of a major multi-institution retrospective comprising works that span three decades of the artist’s practice, from the late 1990s to the present. From poetic installations in public spaces to life-size drawings, Rondinone’s work balances on the edge of euphoria and detachment.
Nicolás Lamas’ practice mainly includes found objects, installations and sculptures that focus on the transitory and hybrid nature of reality. For his first solo exhibition in Amsterdam he presents a dismantled production site interconnected with a series of objects that seem not to belong here. Using cognitive tensions between consumed and wasted energy, the show reflects on the transitory condition of matter as embedded in a system of ephemeral and divergent relations.