Uta Barth in NYT Crossword Puzzle — 1301PE





Judy Ledgerwood: Hausler Contemporary, Munich


Judy Ledgerwood, Celadon Large Bowl with Scored Motif, 2017 | Majolika | Produktion: 
Porzellan Manufaktur Nymphenburg | H: 18, Durchmesser: 42 cm

Judy Ledgerwood

Every Day is Different

November 9, 2017 – January 12, 2018

Häusler Contemporary

Maximilianstraße 35, Eingang Herzog-Rudolf-Straße

DE – 80539 München


Häusler Contemporary München proudly presents for the first time ceramics by Judy Ledgerwood that she developed in 2016/17 at Porzellanmanufaktur Nymphenburg. In combination with recent paintings, the artist’s exhibition again celebrates color, form and ornament – elements with which she simultaneously knits a dense net of symbolic and art historical references.

Like almost no other artistic position, American painter Judy Ledgerwood (*1959, Brazil, US, lives in Chicago, US) shows courage for shiny colors and ornaments. Her canvasses and wall paintings captivate viewers with their rhythmized aesthetics that is full of intentional breaks and contains reflections on femininity just as multilayered art historical references. Furthermore, her works represent a permeable border between fine arts and applied arts. Several residencies at Porzellanmanufaktur Nymphenburg since 2016 now offered Ledgerwood the unique occasion to further pursue her artistic approach in traditional handicraft.

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Ann Veronica Janssens: Esther Schipper, Berlin


Ann Veronica Janssens, MuHKA, Antwerp, 1997, Artificial fog, natural light

Ann Veronica Janssens

Ich rede zu Dir wie Kinder reden in der Nacht

November 4 – December 16, 2017

Esther Schipper

Potsdamer Strasse 81E

D-10785 Berlin 


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Jack Goldstein: Meliksetian | Briggs, Los Angeles



Jack Goldstein

Selectric Works

October 28 to December 16, 2017

Meliksetian | Briggs

313 North Fairfax Avenue

Los Angeles CA 90036 USA

A graduate assistant for John Baldessari’s first class in his Post-Studio Artprogram at Cal Arts in the 1970s, Goldstein (1945-2003) became best known as a key figure of the Pictures Generation, a group of artists who came to prominence in the late 1970s and early 1980s, their practice characterized by the embrace of mass media imagery and what critic and curator Douglas Crimp called the “processes of quotation, excerptation, framing and staging.”

The Selectric Works, made during a period between 1988 and 1990, are part of Goldstein’ practice of writing and making text-based works, following the production of his one-line Aphorisms and the basis of his well-known typographic portfolio, Totems. The name Selectric given to these works refers to the ’80s era IBM electric typewriter that Goldstein used to make them, a machine characterized by its rotating type mechanism, an interchangeable ball which gave one the ability to choose various font and type styles. These works centered on 17 x 11-inch sheets of paper introduced a graphic component into his textual work.

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Artlyst: Bloomberg Launches Art-worthy New European Headquarters – Pae White: “Pomona”


Pae White: “Pomona”

Bloomberg Launches Art-worthy New European Headquarters – Pae White: “Pomona

I have just returned from an outing to Bloomberg’s new European headquarters in London and it certainly doesn’t disappoint. The building designed by Sir Norman Foster is almost entirely sustainable, and filled with Contemporary art treasures commissioned by Michael Bloomberg himself along with two other curator/advisers.

Artists include Michael Craig-Martin, Olafur Eliasson, Arturo Herrera, Cristina Iglesias, David Tremlett and Pae White who have created site-specific works for Bloomberg’s building. The works are complemented by an existing work by Ben Langlands & Nikki Bell and a new commission by Isabel Nolan for Bloomberg SPACE. The building, situated in the heart of the City of London. Space will now be a purpose-built gallery for new commissions and exhibitions.

Pae White’s “Pomona” is located on the ground floor in the auditorium’s pre-function space. The suite of three tapestries weaves together the artist’s fascination with historic textiles and the natural world. They are inspired in part by traditional textile “samplers” that would have been stitched by hand. Each tapestry is approximately 10 feet high and spans a width of approximately 40 feet. Together, the three tapestries envelop visitors as they enter the space.

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Jorge Pardo: Petzel Gallery, New York


Jorge Pardo, Self Portraits, 2017

Jorge Pardo

Self Portraits

27 October 2017 – 6 January 2018


456 W 18th Street

New York, New York 10011

Candid snapshots of Jorge Pardo in workaday situations—man-spreading in a chair, strolling down the street, posing in Brazilian swim trunks—taken by friends, family, studio assistants, as well as up-close-and-personal Selfies, are the foundation for these 15 new paintings. And then the metamorphosis begins, simultaneously upending what defines a painting and a self portrait. Amalgamating craftsmanship and computerized manipulation with a range of media, Pardo creates an intricate, hybridized fusion of painting and sculpture. The images are bastardized—blown-up, engraved, laser-cut, hand-painted and back-lit with LEDs, to produce, in some cases, vast ornamental objects. Tiers of milled, perforated wood and Plexiglas overlap and interact on a relief which dissipates and parodies both self and portrait. Transparency, light, and color add further layers of complexity to these works—when illuminated the shapes, patterns and subjects within the paintings alter. A larger transformation occurs when the works are hung from the ceiling; the paintings morph into seemingly weightless light-boxes.

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Philippe Parreno: Museo Jumex, Mexico City



Philippe Parreno

La levadura y el anfitrión (The Yeasts and The Host)

26 October 2017 – 11 February 2018

Museo Jumex

Miguel de Cervantes Saavedra 303

Colonia Granada

11520 Mexico City

Museo Jumex presents La levadura y el anfitrión (The Yeasts and The Host) the first exhibition in Mexico by French artist Philippe Parreno.

One of an influential generation of artists emerging in the 1990s, Parreno has pioneered new forms of art through collaboration, participation and choreographed encounters where “the exhibition is conceived as a scripted space, like an automaton producing different temporalities, a rhythm, a journey, a duration.” His most ambitious installations have used systems to orchestrate the exhibition. These have included musical notations, weather patterns, and living organisms to trigger sound, video and lighting conditions within the gallery. For Museo Jumex, Parreno presents an expanded proposal over two floors. Combinations of new, existing and re-edited works are overlaid to produce different realities and experiences in an ever-changing composition.

At the centre of the exhibition, on the second floor of the museum, is the control centre. Here a bioreactor breeds yeast connected to a computer that remembers the program of a past exhibition (Anywhen, Parreno’s Tate Modern Hyundai Commission 2016 in London). These living colonies are now exposed to a new context and are reacting to it. The dynamic systems trigger the order of appearances of events in the gallery space such as the projection of a film or the sound and light movements that reverberate throughout the building. By turning control of the show over to natural systems, Parreno’s work explores the realm between the human mind (el anfitrión) – the host that choreographs the exhibition and other spectral forms of intelligent or emergent matter and activity.

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Fiona Banner & Kerry Tribe: Imperial War Museum, London, UK



Age of Terror: Art since 9/11

26 October 2017 – 28 May 2018

Imperial War Museum, London

Lambeth Road

London SE1 6HZ

See the UK’s first major exhibition of artists’ responses to war and conflict since the terrorist attacks on 11 September 2001. Age of Terror: Art since 9/11 will feature more than 40 British and international artists.

The complex issues surrounding the global response to 9/11, the nature of modern warfare and the continuing state of emergency in which we find ourselves have become compelling subject matter for contemporary artists.

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Fiona Connor: Community Notice Board, High Desert Test Sites 2017, Joshua Tree



An Ephemeral History of High Desert Test Sites: 2002-2015

High Desert Test Sites 2017

21 & 22 October 2017

The exhibition will remain on view from 11am to 5pm on October 21, 22, 28, 29, November 4, 5, 11, 12.

Community Notice Board: Fiona Connor


65336 Winters Rd

Joshua Tree, CA 92252


This year’s iteration of High Desert Test Sites is built around An Ephemeral History of High Desert Test Sites: 2002-2015, a month-long exhibition focused on the project’s history. In addition, a pseudo-symposium titled The Palm Talks compliments the exhibition with live music and presentations on the topic of non-communities.

An Ephemeral History of High Desert Test Sites presents an incomplete and partial look at the organization’s fifteen-year history, based on the artifacts, ephemera, and facsimiles that have been recovered by High Desert Test Sites and past participating artists. It has prompted a desire to document the organization’s history, to create a living archive of contributions that were otherwise ephemeral and temporary, and to observe the narrative of the gathered material in order to tell the story of the organization, the vast community of artists involved, and the landscape that has witnessed these activities.

High Desert Test Sites 2017 is complimented by new projects and contributions by Fiona Connor, Bob Dornberger and Sarah Witt, Neil Doshi, Edie Fake, Glenn-Murray & Co., Oliver Payne, Carolyn Pennypacker Riggs, and Ry Rocklen.

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Jack Goldstein & Philippe Parreno: Field Guide, Remai Modern, Saskatoon, Canada



Field Guide

21 October 2017 – 25 February 2018

Remai Modern

102 Spadina Crescent East

Saskatoon SK S7K 0L3


Remai Modern’s inaugural exhibition animates the entire museum with a spirit of active engagement, curiosity and disruption. Presenting a series of singular positions and coherent groupings of works, Field Guide introduces the museum’s program philosophy and direction. Works from the permanent collection are placed in dialogue with contemporary projects, commissioned pieces and immersive installations. Through an open framework, Field Guide invites consideration of a network of issues and questions impacting art and society today.

Featuring leading artists from Saskatchewan, Canada, and the world, Field Guide rethinks the idea of “modern” from multiple cultural, geographic, historic and contemporary perspectives. Legacies play an important role and act as a formative nucleus for the exhibition—both the legacy of modernism and that of our predecessor the Mendel Art Gallery, from which Remai Modern inherited a collection of nearly 8,000 works. Field Guide also signals the start of a new chapter, debuting many key acquisitions that speak to the aspirations and future growth of the collection.

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Ana Prvacki: Homeward Bound, Nicodim, Los Angeles


Ana Prvacki, “Music Stand,” 2015, Wood, poured resin and mixed media on paper, 
53 x 19 x 19 inches

Homeward Bound

21 October – 22 November 2017

Opening: 21 October 6-8pm

Nicodim Gallery

571 S Anderson St Ste 2

Los Angeles, CA  90033

Lisa Anne Auerbach • Elmer Batters • Razvan Boar • Melanie Bonajo • Monica Bonvicini • Polly Borland • Chris Burden • Michiel Ceulers • Karon Davis • Nancy Grossman • Namio Harukawa • Philipp Kremer • Lazaros • Kris Lemsalu • Atelier von Lieshout • Monica Majoli • Bjarne Melgaard • Daido Moriyama • Ciprian Muresan • Simphiwe Ndzube • Ana Prvacki • Gus Van Sant • Eric Stanton • Ruben Verdu • Robert Yarber • and more…

“The drabness of her daily life made her dream of luxury, her husband’s conjugal affection drove her to adulterous desires. She wished he would beat her so that she could feel more justified in hating him and taking vengeance upon him. She was sometimes amazed by the horrible conjectures that came into her mind; and yet she had to go on smiling, hearing herself told over and over that she was lucky, pretending to be happy, letting everyone believe it!” —Madame Bovary, Gustave Flaubert

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Kerry Tribe: OK Center for Contemporary Art, Linz, Austria


Kerry Tribe, Here & Elsewhere, 2002, 2-channel DVD projection, 10:30 minutes loop, 
Stills from video 

Alice in Wonderland

Oct 21, 2017 – Apr 02, 2018

OÖ Kulturquartier

OK-Platz 1

4020 Linz, Austria


For more than 150 years the adventures of Lewis Carroll’s Alice in Wonderland have moved not only the imagination of children, but are also inspiration for art, mathematics, physics and, of course films.

As if in a dream Alice falls from one queer scene into another, and despite of the confusion and the nonsense she tries not to loose the thread. The roles are exchanged: In the story, Alice suddenly finds herself in the position of the adult and the rational. She grows, shrinks and jumps from one level of meaning to another, she finds herself in a world where everything is possible. A proper portion of curiosity is her great driving force. But also thanks to her tremendous self-confidence, she does not stop in spite of occasional fear.

The exhibition area of the OÖ Kulturquartier with the OK in its great variety and complex architecture is an ideal backdrop for such a wonder world. Focusing on key elements of Lewis Carroll’s classic, such as the dream, nonsense, the queer, time, order and chaos, but also play, the exhibition tells a wondrous narration with performative elements throughout the exhibition spaces.

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Jorge Mendez Blake: rac Franche-Comté, France


Jorge Méndez Blake, Pangram I, 2015 © Courtesy de l’artiste et Meessen De Clercq, 
Brussels, photo : D.R.

Montag or the library-in-the-making

14 October 2017 – 14 January 2018

rac Franche-Comté

2, passage des arts, 2

5000 Besançon, France

Montag or the library-in-the-making explores the links between literature and the visual arts, reflecting artists’ unflagging interest in the literary medium. It brings together some thirty works on the subject, either in the form of adaptations of famous texts via the visual arts (sculpture, videos, installation, design, etc.) in particular, or by directly reworking the textual matter, subjecting it to a host of transformations, new twists, recoups and other ‘affronts’. A final section is devoted more specifically to libraries, as well as to books, which are regularly the targets of censorship in repressive political regimes; in view of such violations book production has become stronger than ever among artists for whom literature remains an unrivalled field of experimentation and who are highly instrumental in its revival.

Ignasi Aballí, Francesco Arena, Daniel Gustav Cramer, Dora Garcia, Mark Geffriaud, Rodney Graham, Camille Henrot, Claire Fontaine, Gary Hill, David Lamelas, Jorge Méndez Blake, Jean-Christophe Norman, Claudio Parmiggiani, Estefanía Peñafiel Loaiza, Katie Paterson, Lili Reynaud Dewar, Özlem Sulak, The Book Lovers (David Maroto et Joanna Zielinska), Thu Van Tran, Oriol Vilanova

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Kerry Tribe: New Work, San Francisco Museum of Modern Art


Kerry Tribe, Standardized Patient, 2017 (detail, production still); commissioned by SFMOMA

New Work: Kerry Tribe

San Francisco Museum of Modern Art

7 October 2017 – 25 February 2018


151 Third Street

San Francisco, CA 94103

1301PE is pleased to announce the opening of Kerry Tribe’s exhibition, New Work, at SFMOMA. The exhibition premieres an SFMOMA commission by the Los Angeles–based artist and filmmaker that offers insight into the work of Standardized Patients—professional actors who portray patients in a simulated clinical environment as part of medical students’ training. The multi-channel video installation explores questions of empathy, communication, and performance, and was developed through Tribe’s close collaboration with professional clinicians, communication experts, and Standardized Patients at Stanford University and the University of Southern California. In this, Tribe’s first solo exhibition at a major U.S. museum, the artist builds upon her history of engaging individuals from the acting and medical communities and exploring the willing suspension of disbelief.

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SUPERFLEX: One Two Three Swing!, Tate Modern’s Turbine Hall Commission, London


Danish art collective Superflex, from left: Jakob Fenger, Rasmus Nielsen and Bjørnstjerne
Christiansen, on One Two Three Swing! at Turbine Hall in Tate Modern, London. Photograph: PA

SUPERFLEX: One Two Three Swing!

Hyundai Commission 2017

Turbine Hall, Tate Modern

3 October 2017 – 2 April 2018

Tate Modern


London SE1 9TG

1301PE is pleased to announce the opening of SUPERFLEX’s exhibition, One Two Three Swing!, for the Tate Modern’s 2017 Hyundai Commission. Through an unprecedented partnership with the Tate Modern’s community development program, One Two Three Swing! is the first Turbine Hall commission to move beyond the gallery walls. Conceived in states of apathy, production, and movement, the work extends as an orange, human-powered line from the Turbine Hall gallery, into the Tate Modern’s south landscape, and around the world. SUPERFLEX engages the productive potential of the building itself, a former power station that once produced electricity for the City of London, through the strategy of ‘extreme participation’ introduced in 2012 through the urban park project Superkilen. Any visitor to the Turbine Hall is invited to suggest a connection for the orange line, One Two Three Swing! engages the public in experiencing the potential of collective movement by swinging together on the count of three – One Two Three Swing!


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The Guardian, In full swing: Tate’s Turbine Hall turned into adult playground by Mark Brown

Evening Standard, Tate Modern’s Turbine Hall transformed into giant playground full of swings by Robert Dex

Telegraph, A whimsical exercise of shallow metaphor: Superflex, Tate Modern by Mark Hudson

Artsy, SUPERFLEX’s Swinging Playground at the Tate Is More Than Just Entertainment by Coline Milliard





Ann Veronica Janssens: Inside the White Cube, Bermondsey, London, UK


Photo: White Cube (George Darrell)

Ann Veronica Janssens

Inside the White Cube, Bermondsey

27 September – 12 November 2017 


White Cube Bermondsey
144 – 152 Bermondsey Street
London SE1 3TQ


This is the first extensive solo exhibition of Janssens’s work in the UK and includes new and recent sculpture and installation.

Janssens explores spatio-temporal experience and the limits of perception through precise installation and minimal sculpture. ‘I investigate the permeability of contexts’ she has said, ‘[…] even as I propose a form of deconstruction that fragments our perception of these contexts.’ Her first works, made during the 1980s, were constructions or spatial extensions of existing architecture such as Gallery inexistent, Antwerpen (1988), an installation created by stacking borrowed concrete blocks in a gallery space. Since then, however, she has often applied scientific knowledge to the use of non-material mediums such as light, mist or sound. Her works can act like triggers, encouraging heightened visual awareness by exposing or revealing the transitory conditions of particular situations and a slowing down of perception.

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LA Times: ‘Make New History,’ the second Chicago Architecture Biennial, brings the focus back to square one


A biennial performance at the Garfield Park Conservatory was a collaboration between
New York firm SO-IL and artist Ana Prvački, with music by the Los Angeles composer
Veronika Krausas. (Iwan Baan)

‘Make New History,’ the second Chicago Architecture Biennial, brings the focus back to square one by Christopher Hawthorne

Architecture has taken an extrospective turn in recent years, looking outside itself for new ideas and to measure its progress. Or maybe just to feel more useful in a world flooding, burning and generally coming apart at the seams. Among its most visible and lauded figures have been dedicated populists like Chile’s Alejandro Aravena. It has made engagement — political, humanitarian and environmental — a key priority.

“Make New History,” the second edition of the Chicago Architecture Biennial, shifts the focus back inward. This elegant and densely layered exhibition, organized by the Los Angeles architects Sharon Johnston and Mark Lee, argues that architecture can (and should) find the motivation for new work within the discipline itself, within its own stores of self-knowledge and tradition.

As the title suggests, “Make New History” takes as its explicit theme the return to the past, to architectural precedent, that’s increasingly a touchstone for younger architects. It’s true that emerging and midcareer firms are these days producing work that’s grounded in history — and even prehistory, with buildings that look less neoclassical than primitive or primordial — to a degree not seen since the 1970s and ’80s.

In another echo of the 2015 show, this one makes a point of breaking out of the Cultural Center and positioning events around the city. During the opening weekend there were performance pieces at Mies van der Rohe’s Farnsworth House in Plano, Ill. (where L.A.’s Gerard & Kelly sent dancers careening through the interior, down its travertine steps and across its lawn) and at Chicago’s Garfield Park Conservatory (where a meditation on air, breathing and the environment from the New York firm SO-IL and artist Ana Prvacki, with music by the Los Angeles composer Veronika Krausas, hid four musicians inside thin, white prophylactic suits that suggested a charmingly low-tech combination of mascot outfits, air filters and the gear beekeepers wear).

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More articles:

ArchDaily China
Architectural Digest
Architects Newspaper





Rirkrit Tiravanija: Gavin Brown, New York




Rirkrit Tiravanija

skip the bruising of the eskimos to the exquisite words


if I give you a penny you can give me a pair of scissors

24 September – 28 October 2017

Gavin Brown

439 W 127th Street, New York

291 Grand Street, New York


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Artsy: 10 Architects Designing the Future at the Chicago Architecture Biennial


Installation view of SO-IL and Ana Prvački, l’air pour l’air, 2017. Courtesy of Chicago
Architecture Biennial, Steve Hall © Hall Merrick Photographers.

10 Architects Designing the Future at the Chicago Architecture Biennial by Anna Kats

SO-IL and Ana Prvački

Prvački, a Los Angeles-based artist, and Florian Idenburg, an architect and co-founder of New York studio SO-IL, jointly conceived an interdisciplinary offsite project at the verdant Garfield Park Conservatory.

Dressed in mesh sculptural forms that obscure their faces and instruments, wind musicians and a vocalist from the Chicago Sinfonietta wander among the greenhouse’s proliferation of plants; the encasings filter air as the wind instruments are played, creating a feedback mechanism whereby the music cleans the air that in turn produces the music.

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Diana Thater: Floating Worlds, 14th Biennale de Lyon, France


Diana Thater, White is the Color, 2002

14th Biennale de Lyon: Floating Worlds

20 September 2017 – 7 January 2018

Since its creation in 1991, Thierry Raspail, Artistic Director of the Biennale de Lyon, has asked each guest curator to think about a keyword, assigned for three editions. The 2017 Biennale de Lyon is the second volume of a trilogy around the word “modernity”, and it was with this word that Thierry Raspail invited Emma Lavigne, director of the Centre Pompidou-Metz, to imagine this 14th edition, at the Sucrière and macLYON from 20 September 2017 to 07 January 2018.

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Diana Thater: Borusan Contemporary, Istanbul, Turkey


Diana Thater, A Runaway World (background), As Radical As Reality (foreground), 2017. 
The installation view at The Mistake Room, Los Angeles, 2017. Photo by: Fredrik Nilsen.

Diana Thater

A Runaway World

September 16, 2017–February 18, 2018

Borusan Contemporary

Baltalimanı Hisar Cad.

Perili Köşk No:5 34470

Rumeli Hisarı/Sarıyer

Istanbul Turkey

Diana Thater: A Runaway World (September 16, 2017‒February 18, 2018) comprises five video-based installations: three newly commissioned and two earlier works to provide context for the artist’s examination of environmental issues. As Radical As Reality(2017) and A Runaway World (2017) were commissioned by The Mistake Room for the spring 2017 exhibition, that was also titled A Runaway World. The new installations incorporate video of elephants hunted by poachers for ivory; the last male Northern white rhinoceros, a species hunted to extinction for its horns; and the landscapes they inhabit. Thater and her crew gained unprecedented access to the creatures living in enclosures protected by armed guards. The videos are projected onto specially made X-shaped screens designed by the artist to create an immersive and somewhat disorienting experience.

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Ann Veronica Janssens: Naissances Latentes, Le SHED, France



Naissances Latentes

16 September – 12 November 2017

Le SHED, centre d’art contemporain de Normandie

12 Rue de l’Abbaye

76960 Notre-Dame de Bondeville


Ann Veronica Janssens’s work will be the object of a triple exhibition, Naissances Latentes, at Le SHED. Janssens’s artistic practice could be defined as a study of the sensory experience of reality. Through various types of devices (installations, projections, immersive environments, sculptures), Janssens’s works emphasize space through the diffusion of light, the radiance of color or reflective surfaces, revealing the instability of our perception of time and space.

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Ann Veronica Janssens, Philippe Parreno, and SUPERFLEX: Ujazdowski Castle Centre for Contemporary Art, Warsaw, Poland


Ann Veronica Janssens, MUHKA Anvers, 1997


Dizziness: Navigating the Unknown

15/09/17 – 07/01/2018

Ujazdowski Castle Centre for Contemporary Art

Jazdów 2, 00-467 Warsaw

This exhibition can get your head spinning. Artists leave the established to seek other states of consciousness. They lure the audience into a confrontation with their own convictions.

The group exhibition Dizziness. Navigating the Unknown is the result of the artistic-research project Dizziness – A Resource, which is being implemented since 2014 by Ruth Anderwald and Leonhard Grond at the Academy of Fine Arts in Vienna, in collaboration with the Institute of Psychology at the University of Graz. In the project, the various states of instability become the starting point for exploring the frontiers of philosophy, cultural studies, medicine, research into creativity and innovation.

The exhibition will feature the works of thirty-three artists from around the world, created in the second half of the 20th century and in the 21st century. These works instill in the viewers the sensation of disarray mentioned in the title of the exhibition. The premeditated artistic strategies force the audience to confront their own convictions, directions of thought as well as intentions. Artists elicit questioning of the established rules or the ongoing changes in the world. They go beyond what has previously been established, beyond the generally accepted framework of thinking.

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designboom: SO-IL + ana prvački create air-filtering outfits for chicago architecture biennial performance





SO-IL + ana prvački create air-filtering outfits for chicago architecture biennial performance by Philip Stevens

during the opening week of the 2017 chicago architecture biennial, architecture studio SO-IL and artist ana prvački are debuting a musical performance piece titled ‘l’air pour l’air’. as part of the project, which aims to ensure the continued legacy of musicians as the world’s cities grow more polluted, the collaborative design team has created an ensemble of mesh enclosures. each piece has been conceived as part mask, part shelter, and is designed to clean and filter the air through breathing.

presented as one of the chicago architecture biennial’s special projects, the four SO-IL-designed enclosures — named ‘flute’ ‘saxophone’ ‘voice’ and ‘trombone’ — will be worn by the respective members of the chicago sinfonietta. through performing an original composition, created by veronika krausas, the musicians will ‘clean the air that produces the music’. ‘the installation and performance encourage its viewers to meditate upon the complex notions such as the relationship between purity and pollution, and the distinctions between self, body, objects, and nature,’ explains the design team.

the main exhibition is free and open to the public from september 16, 2017 through january 7, 2018.

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The Guardian: ‘Underground city’ set to become Chicago’s next attraction



‘Underground city’ set to become Chicago’s next attraction by Ella Buchan

For this year’s Chicago Architecture Biennial (until January 2018), Los Angeles architect Erin Besler and artist Fiona Connor are creating installations inspired by the walkways’ textures, fixtures and fittings. Their work will highlight “a bit of functional infrastructure that gets far less attention than the more iconic structures it serves above ground”, said Biennial executive director Todd Palmer. These will be displayed in the Chicago Cultural Center, one on the ground floor and another where its basement joins the Pedway.

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Ana Prvački: Chicago Architecture Biennial, IL



Chicago Architecture Biennial

Ana Prvački and SO-IL

16 September 2017 – 7 January 2018

Performance of L’air pour l’air

Saturday, 16 September  3 – 5 pm


Garfield Park Conservatory

300 N. Central Park Ave

Chicago, IL 60624

Architects SO–IL and artist Ana Prvački have created a poetic collaboration for Garfield Park Conservatory called L’air pour l’air. Part installation and part musical performance, it features an ensemble of air-filtering mesh enclosures that touch on the continuities between people, objects, and nature through a medium as ubiquitous as air. The performance debuts a composition for three wind instruments and voice by the composer Veronika Krausas, performed by a quartet of musicians from Chicago Sinfonietta, an orchestra dedicated to diversity and inclusion in classical music. Drawing upon the Conservatory’s abundant plant life as inspiration, the enclosures worn by the Sinfonietta collaborators have been designed to clean the air through breath. SO-IL and Prvački’s installation ensures we will always have street music, even in our smog-filled cities of the future. The more music played, the cleaner the air.

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Fiona Connor: Chicago Architecture Biennial, IL



“The History of Pedestrian Ways in Downtown Chicago”, 1979, 
Courtesy of City of Chicago


Chicago Architecture Biennial

Fiona Connor and Erin Besler

16 September 2017 – 7 January 2018


Chicago Cultural Center

78 E. Washington Street

Chicago, IL 60602


Front Door, Part 1 & Part 2

Front Door takes its cue from the passageways and thresholds of two spaces: the Chicago Cultural Center and the Chicago Pedway. 

This Beaux Arts building originally opened in 1897 to house the Chicago Public Library and the Grand Army of the Republic Memorial Hall; it was designed by the Boston-based firm Shepley, Rutan & Coolidge, who were working concurrently on the Art Institute of Chicago (1893–1916). Since a renovation by Holabird & Root from 1974 to 1977, the building has been used as an arts and culture center; in 1991, it was officially established as the Chicago Cultural Center, as it remains today. 

The Chicago Pedway began in 1951 with the construction of two block-long pedestrian tunnels between State Street and Dearborn Street at the Washington and Jackson CTA stops. Since then, the subterranean system has expanded through public and private development to connect more than 50 buildings with public transit stations underground in the downtown area, so far covering roughly five miles altogether (this includes a few street-level and overhead walkways that are part of the mostly underground network). The wide variety of designs and materials that appear in the Pedway demarcates changes in ownership and also functions as a historical index of shifting standards and tastes. This section of the Pedway, situated underneath the Chicago Cultural Center, opened in 1989.

The Chicago Cultural Center’s main entrance on Randolph Street, contains a cross section of the different types of fluorescent lights that illuminate the underground chambers of the Pedway. The second site of the project can be found one floor below, upon exiting the Chicago Cultural Center and entering the Pedway.


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Jessica Stockholder: 360 Speaker Series, Nasher Sculpture Center, Dallas, TX



Nasher Sculpture Center

360 Speaker Series: Jessica Stockholder

26 August 2017  2pm

Nasher Sculpture Center

2001 Flora Street

Dallas, Texas 75201

Jessica Stockholder’s sprawling constructions have played a crucial role in expanding the dialogue between sculpture and painting and form and space. Within her work, the artist merges seemingly disparate, everyday objects to create holistic, colorful installations.

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Ana Prvacki: Stealing Shadows (Duchamp) at MOCA Grand Avenue, Los Angeles, CA


Ana Prvacki, Stealing Shadows, Duchamp, 2007, Medium variable, Dimensions variable

MOCA Grand Avenue

Laughing on the Outside: Selections from the Permanent Collection

16 August – 31 December 2017


MOCA Grand Avenue

250 South Grand Avenue

Los Angeles, CA 90012


Laughing on the Outside: Selections from the Permanent Collection presents artworks from MOCA’s collection that register the ludicrous, the impossible, and the playful. On view are stairs that lead to nowhere, invitations to exhibitions that contain no objects, and boots that appear to walk by themselves. The centerpiece is Gabriel Orozco’s interactive sculpture Ping Pond Table (Mesa de ping-pong con estanque) (1998). Museumgoers are invited to play with the paddles and balls provided, though it is likely they will need to invent new rules for a new game. While the artists belong to different periods and nations, they all orient art toward play, often via absurdity and ridiculousness, and in ways that deflate the grandiosity that sometimes accompanies the word “art.”

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Kirsten Everberg: Garden Party Auctions, museum Dhondt-Dhaenens, Sint-Martens-Latem, Belgium


Kirsten Everberg, Studio, Gaeta (after Twombly), 2015, Oil and enamel on wood panel, 24 x 24 inches

museum Dhondt-Dhaenens

Saturday, September 2nd, 2017

Annual Garden Party

On Saturday, September 2nd, 2017 the museum Dhondt-Dhaenens organises the eleventh edition of its annual Garden Party. The successful Paddle8 auction and the Christie’s live charity auction are assured to be the highlights of this happening yet again.

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SUPERFLEX: Flooded McDonald’s on view, Hammer Museum, Los Angeles, CA


SUPERFLEX,  Still from Flooded McDonald’s, 2009

Hammer Contemporary Collections

SUPERFLEX, Flooded McDonald’s

19 August – 15 October 2017


Hammer Museum

10899 Wilshire Blvd.

Los Angeles, CA 90024

The film Flooded McDonald’s poses questions about consumer culture and the fast food industry.

Flooded McDonald’s is the second film by the artist collective SUPERFLEX. In the video, a life-size replica of the interior of a McDonald’s restaurant slowly floods with water until it is completely submerged and destroyed. Based in Denmark, Sweden, and Brazil, the members of SUPERFLEX consider their works “tools” for investigating systems of power, globalization, and the role of the artist in contemporary society. Flooded McDonald’s poses questions about consumer culture and the fast food industry while reveling in the pleasure of destroying a global capitalist icon.

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Glasstire: Diana Thater: ‘The Starry Messenger’ at the Moody Center



Diana Thater: ‘The Starry Messenger’ at the Moody Center by Betsy Huete


I was lying on the ground one night at an artist residency in rural Pennsylvania. There were no clouds, no smog —I’ve never seen so many stars receding into infinity. The sky was so clear and the night so crisp that it was easy to make out a clear outline of the Milky Way. It wasn’t how we normally see it in science textbooks or NASA posters; I was looking at the Milky Way turned on its side. It looked like a dense, fat, pixelated line — like a tail that, in one whisk, could fling us out into deep space — a place capable of immense obliteration and violence, a place of silence and timelessness. It felt immersive and very far away. It was majestic.

Diana Thater’s The Starry Messenger (2014), currently on view at the Moody Center at Rice University, is not that.

Nor does she want it to be. Thater is instead using the act of stargazing as a seduction technique, to entangle us in a piece that interrogates our human need to separate ourselves from a fetishized “nature,” one that cultivates frustration and desire, and that challenges us to be bored. She does this by layering our experience of her piece: the meta-mediated experience of Thater’s recording of a projection of the Milky Way inside a planetarium; the mediated experience of her filming the projector inside the planetarium, and the immediacy of us viewing it all through a nine-monitor grid.

On view at the Moody Center for the Arts at Rice University in Houston until February 3, 2018.

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Wallpaper: Philippe Parreno transforms the Rockbund Art Museum in a perpetual motion of events


Philippe Parreno turns exhibition spaces into the exhibition, at the Rockbund Art Museum
in Shanghai. Photography: © Andrea Rossetti 2017


Philippe Parreno transforms the Rockbund Art Museum in a perpetual motion of events by Charlotte Jansen

For the past two decades French-born artist Philippe Parreno has used museums as his material. Known best for his recent installations at Tate Modern, HangarBicocca and the Palais de Tokyo, he has turned exhibition spaces into the exhibition. Instead of installing art on the walls, Parreno begins with what already exists in the architecture of a building, choreographing light, sound, image and space in an ephemeral dance.

Parreno’s first ever exhibition in China follows a similar strategy. ‘Synchronicity’, at the Rockbund Art Museum in Shanghai until mid September, sees window blinds opening and closing over a window like a blinking eye, casting different shadows over a room. A heliostat shunts natural sunlight through the glass rooftop over the floor below. On the third storey, an illuminated marquee constructed in glass — referencing the skylight design of the museum’s upper floors — plays music that can be heard throughout the space. The artist even nods to the design of the building, completed in 1933 and restored by David Chipperfield in 2010: his vertical plane slices through four of the building’s six floors, referencing the central axis and the overall harmony of the space.

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1301PE participating in Pacific Standard Time: LA/LA



Jorge Méndez Blake at 1301PE

More than 65 art galleries in Los Angeles and throughout Southern California will participate in Pacific Standard Time: LA/LA, the Getty-led exploration of Latin American and Latino art that launches on September 15, 2017, and runs through January 2018. Complementing PST: LA/LA’s expansive roster of exhibitions, performances, and public programs at more than 70 museums and cultural institutions, participating galleries will present more than 90 group and solo exhibitions, artist-curated projects, and installations in Downtown Los Angeles, Culver City, Santa Monica, Hollywood, West Hollywood, and beyond. Throughout the four-month initiative, a vibrant cross-section of emerging and established galleries will join in celebrating Latin American and Latino artists, and will bring works to the region by both internationally-known artists who will be shown on the West Coast or in the United States for the first time and emerging talent from across Latin America and the U.S.

More information


LA Times




Rirkrit Tiravanija: Film premiers at the International Film Festival Marseille, France


Rirkrit Tiravanija, Karl’s Perfect Day, 2017, s16mm/arri digital, color, sound 5.1, 1h33mins.


Rirkrit Tiravanija’s film, Karl’s Perfect Day (2017) will premier at the International Film Festival Marseille. 

15 July – 3:45 pm

16 July – 5:30 pm

FID 28th International Film Festival Marseille

July 11-17

Karl perfect day is a portrait of artist and poet Karl Holmqvist thru the own idea of what a perfect day is to him. Is a journey from the time he wakes up to the time he returns to bed. The journey is constructed in Karl’s mind, like his own work and artistic interests. Is a collage of peoples, places, sounds, images and texts. His idea of the perfect day is not one of extravagance but rather modest, layer with complexities and significance with moments of contentedness and small pleasures. Seemingly the film of Karl’s perfect day perfectly looks like another day in a life of a person.

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Philippe Parreno: Rockbund Art Museum, Shanghai, China



Philippe Parreno


8 July – 17 September 2017

Rockbund Art Museum

20 Huqiu Road

Huangpu District, Shanghai


1301PE is pleased to announce the opening of Philippe Parreno’s exhibition, Synchronicity, at the Rockbund Art Museum. It will be Parreno’s first major solo exhibition in China. This exhibition is dedicated to the late Xavier Douroux whose influence on Parreno’s career cannot be overstated.

Curated by the Director of the museum, Larys Frogier, Parreno’s first exhibition in China will occupy four of the museum’s six floors, also extending to its seventh floor glass rooftop.

Over the past twenty years, Parreno has radically redefined the exhibition going experience by exploring its possibilities as a medium in its own right. Realised in dialogue with the physicality and functionality of the museum’s architecture, the exhibition will alter the building’s current existence through an unexpected use of time, space, light, and sound to become a semi automated puppet, a perpetual motion of events in which Parreno subverts the conventions of the gallery space.

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Del Mar Times: Jorge Pardo leaves his mark at the Lux Art Institute


Jorge Pardo poses in front of a new art piece, which he invites children to add to, at the
Lux Art Institute in Encinitas.

Jorge Pardo leaves his mark at the Lux Art Institute by Brittany Woolsey

Lux Art Institute

4550 South El Camino Real

Encinitas, CA

On view through Aug. 5.


When Jorge Pardo was invited to spend time as an artist in residence at the Lux Art Institute in Encinitas, he had a set goal in mind: to create an original, new art piece in just five days.

The Mexico-based artist spent June 12 through June 17 staying at the Lux to work on the large canvas-based piece. Other artists have in the past chosen to spend up to a month there.

“I gave myself a week to make something that would be interesting, and that’s really the only agenda here,” he said in an interview on the day he he arrived at the studio. “The interesting thing is to use the space and to make something here. They’re very flexible about how and what artists do. Residency can be a lot of things: it can be a retreat for people or it can be work.”

During his time at Lux, he created a 5-foot-by-30-foot scroll work that is covered with silkscreen ink in bright colors such as pinks, purples and oranges. He had planned the work for months, with materials sent over ahead of time, to make the most out of his stay at the Lux, he said.

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Art Agenda: Kerry Tribe’s “the word the wall la palabra la pared”, Parque Galería, Mexico City


View of Kerry Tribe’s “the word the wall la palabra la pared,” Parque Galería, Mexico City, 2017.

Kerry Tribe’s “the word the wall la palabra la pared” by Catalina Lozano

PARQUE GALERíA, Mexico City   

May 6–July 1, 2017

For her first exhibition in Mexico City, LA-based artist Kerry Tribe removed the front wall of Parque Galería and transformed it into a makeshift screening room. The crumbling architecture, with its exposed dry walls and frayed edges, introduces an exhibition in which seemingly solid physical and psychical structures are undone.

Tribe’s work addresses perception, memory, and language, as well as the technologies used to perceive, record, and describe experience. Combining video, sculpture, and photography, her latest exhibition considers how atypical circumstances—such as alterations in the mechanisms of reception and emission in the brain—create opportunities to analyze the norms by which fitness and unfitness are defined. By paying attention to the anomalous, Tribe tackles new, affective configurations of knowledge.

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Pae White: Artists on Art, LACMA video series



Pae White

LACMA’s Artists on Art video series

For Artists on Art, Pae White speaks on Soup Tureen and Ladle by Christopher Dresser.

LACMA’s Artists on Art videos offer insights into works in the museum’s encyclopedic collection that have inspired and informed artists working today. Looking at art through their eyes, we hear directly from artists about works that intrigue them and have fed their own creativity.

Pae White’s practice straddles the line between what is thought of as “high art” and “functional object.” I; in fact, her creations often—and purposefully—are both, finding their place simultaneously in the worlds of art, craft, and design. Her work ranges from intimate installations incorporating Vera scarves to large-scale tapestries, based on photos of crumpled aluminum foil or plumes of smoke and made on computer-driven looms. She lives and works in Los Angeles.

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Kerry Tribe: Chalk Circles at REDCAT, Los Angeles, CA


Kerry Tribe, Rinse and Repeat, 2017. 10 minutes, single channel video with sound, 
video (still), courtesy of the artist.


Kerry Tribe

Chalk Circles

Saturday, June 17, 2017 to Sunday, August 20, 2017

Opening Reception June 17, 4-9pm



631 West 2nd Street

Los Angeles, CA 90012


The Gallery at REDCAT presents Chalk Circles, an exhibition and series of related performances and events that consider the ways in which performing and visual arts intersect. Curated by Ruth Estévez and José Luis Blondet, the exhibition Chalk Circles stages a number of ways in which artists think critically about live actions, theater and performance.

Artists in this exhibition document, reimagine, and rearticulate acting methodologies to investigate performance as a form of production, not just as an event-based form. Their projects center on mixed traditions of movement, acting and gesture, as well as pedagogic models. The role of the actor, the figure of the performer, and their different perspectives in the construction of a character inform several projects in the exhibition, while others focus on the frictions of a body in a fictive—theatralized—space.

Chalk Circles features works and commissions by local and international artists who engage in theatricality and performativity as a tool to feed the instability of such terms. Artists included in the exhibition: Carola Dertnig, Dora García and Peio Aguirre, Adrià Julià, Joachim Koester, David Levine, Emily Mast, Silke Otto-Knapp, Santiago Roldós and Pilar Aranda (Muégano Teatro), Catherine Sullivan and Kerry Tribe. 


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Jorge Pardo: Lux Art Institute, Encinitas, CA



Jorge Pardo

On exhibit

June 12, 2017 through August 5, 2017

Lux Art Institute

1550 S. El Camino Real

Encinitas, CA 92024

Havana-born artist Jorge Pardo has been recognized as a MacArthur “genius” and featured in the collections of some of the world’s top museums, and he once spent six years designing a utopian compound in the depths of the jungles of the Yucatán. This summer, San Diegans can witness him at work during a five-day residence at Lux Art Institute (June 12-17), followed by an exhibition of his vibrant, genre-defying artworks. June 12 to Aug. 5. Lux Art Institute, 1550 S. El Camino Real, Encinitas. $5; free for members. (760) 436-6611 or luxartinstitute.org

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LA Weekly: 5 Art Shows to See in L.A. This Week


Tacita Dean, The last beautiful pleasure., 2017. Installation view 1301PE.

5 Art Shows to See in L.A. This Week by Catherine Wagley

Smoking in the grass

Downstairs at 1301PE, actress Sylvia Kristel holds a cigarette in a 16mm film that’s being projected on a wall. Smoke rises against the lush yard in which she’s standing. Artist Manon de Boer filmed Kristel, who died in 2012, in the Hollywood Hills in the early 2000s. The footage is quiet and the actress stoic. Upstairs, another 16-millimeter film plays. This time, it’s iconic painter David Hockney who holds a cigarette and quietly smokes in his studio. Sometimes he laughs. Tacita Dean filmed him just last year and, over the course of 16 minutes, we see him smoke five cigarettes. This show, called “The last beautiful pleasure,” marks 1301PE’s 25th anniversary and drips with nostalgia — for a time when too many of us still found chainsmoking romantic. 

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Artnet news: Is Capitalism Doomed? A New Museum Imagines the Downfall of the Economic System


Superflex, Bankrupt Banks (2012).

Is Capitalism Doomed? A New Museum Imagines the Downfall of the Economic System by Brian Boucher

If capitalism is slowly on the outs, as some economists and theorists say it is, should there be a museum to preserve its artifacts? The Museum of Capitalism (MOC), an aspiring institution at the very earliest phase of development, opens its first exhibition this month in a disused warehouse in Oakland, California. Its ambitious goal is to educate future generations about the economic system’s “ideology, history, and legacy,” per its mission statement, in the vein of history museums and so-called museums of conscience.

Headed up by the artist duo FICTILIS (Andrea Steves and Timothy Furstnau) and supported by a $215,000 grant from the Emily Hall Tremaine Foundation, its debut exhibition is to be housed in a temporary space in Oakland’s post-industrial Jack London Square, an area with multiple vacant warehouses. The artist list, totaling a whopping 83, includes members from around the globe.

Museum of Capitalism

55 Harrison St, Suite 201

Oakland CA 94607

Opening Exhibition

17 June – 20 August 2017

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Fiona Banner: De Pont Museum documentary by Maarten de Kroon



Fiona Banner: Runway (AW 17)

De Pont Museum, Tilburg, Netherlands

Through 27 August 2017


Documentary by Maarten de Kroon


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e-flux: ARoS Triennial, Rirkrit Tiravanija, Nikolaus Hirsch, Michel Müller


Rirkrit Tiravanija, Nikolaus Hirsch, Michel Müller, DO WE DREAM UNDER THE SAME SKY, 2017.

Rirkrit Tiravanija, Nikolaus Hirsch, Michel Müller


June 3–July 30, 2017 

ARoS Triennial

Various locations

Aarhus, Denmark


DO WE DREAM UNDER THE SAME SKY is located at the beach near Mindepark, Aarhus

For The Garden, the first ARoS Triennial in Aarhus, artist Rirkrit Tiravanija and architects Nikolaus Hirsch and Michel Müller have developed a new version of their ongoing project DO WE DREAM UNDER THE SAME SKY comprised of a pavilion and a dense program of films, talks and cooking.

In the logic of an exquisite corpse, the pavilion can be seen as a disembodied part of the future artist residency and workshop at The Land, a self-sustaining artistic community initiated by Rirkrit Tiravanija and Kamin Lertchaiprasert near Chiang Mai in Thailand that engages with the idea of an artistic utopia and presents both an ecological and sustainable model for future artistic practice. Reminiscent of a Surrealist “exquisite corpse”—beginning with a single contribution that continues to grow piecemeal—various architects, engineers, and artists will contribute different building components (such as structure, façade, etc.) to this unusual architectural assemblage as a collective work.

After its first manifestation at Art Basel in 2015, the pavilion in Aarhus presents the first version of the building in its future dimensions of 22×22 meters. The structure houses several kitchen and garden elements within which the various themes of the project will be played out. Investigating models and practices of sustainability, the geopolitics of food, and building technologies in the era of the anthropocene, Tiravanija, Hirsch and Müller have put together a public program that runs daily from June 3 to July 30.

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Artforum: Diana Thater at The Mistake Room


Diana Thater, As Radical as Reality, 2017, Plexiglas, steel, two-channel video projection
(color, silent, indefinite duration). Installation view. Photo: Fredrik Nilsen.

Diana Thater at The Mistake Room by Alexander Keefe  

“I’m always working with multiple, simultaneous perspectives,” Los Angeles–based artist Diana Thater explained to Lynne Cooke in an interview published on the occasion of her 2015 retrospective at the Los Angeles County Museum of Art. This statement makes sense, given the complexity of Thater’s subject matter: the networked entanglements between human and other, species and habitat, viewer and viewing space, zebra and zeal (the last a term of venery for a group of zebras). “A Runaway World” adds to the artist’s bestiary of transitory media architectures. The show presents two cruciform structures. Each is composed of four Plexiglas sheets arranged via metal scaffolding to form the prone Xs; their four sets of moving images alternately bleed into and jarringly abut each other, creating bifurcated viewing environments that choreograph the body into position, then divide and mend the gaze. Viewed from afar, the screens appear as moving images in the round; up close, these immersive viewing stations facilitate what Thater describes as an “in-between space and time that we (humans and animals) can occupy together, whose mode is instinct and whose affect is beyond simple emotion.”

Thater has been working with architectural screening environments since 1995’s six-channel video projection China, a Deleuzian body trip into the multiple subjectivity of the pack wolf that muses on what it might be like to feel like many instead of one. Travel and zoological research have formed key parts of her practice ever since; both works in the current exhibition emerged from trips to Kenya in 2016 and 2017. The piece that gives the exhibition its title draws from footage of a herd of African elephants that the artist filmed in the country’s Chyulu Hills. Images of elephants dominate the screens, singly and in groups, viewed from up close and far away. These intersect with scenes of the threatened landscape that the magnificent creatures inhabit: rolling grasslands and distant mountains, gorgeous trees isolated in motion against azure skies. Thater has said of her work that it “must have a presence like a subject.” An installation like this one conjures and sustains a particular interplay of subjectivities, here entangling viewer, elephant, and land in what feels like a daydream. But it’s also something of a nightmare.

Few animals are as emblematic of species loss as the northern white rhinoceros named Sudan, the subject of the adjacent work As Radical as Reality, 2017, a moving meditation on extinction in the Anthropocene. Per the show’s press release, the last surviving male of his species has shown little interest in mating with the last two remaining females that accompany him in the Kenyan conservancy that shelters them (an assertion that is challenged by the conservancy, which provides the sobering counter that Sudan’s two female companions are themselves incapable of normal copulation). Soon his advancing age will preclude reproduction regardless. To make matters worse, poachers would love to have his horn. Species loss and individual death are inseparable in this pathetic story; so are human and rhinoceros. Thater’s installation creates a space to encounter Sudan as he lives, a rhino in a post-rhino world, ringed by the armed guards who will accompany him everywhere until someday—too soon—security team becomes funeral escort. And we stand and mourn.

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Visual Art Source: Manon de Boer, Tacita Dean at 1301PE, Los Angeles


Tacita Dean, still from “Portraits,” 2016, 16mm color film, optical sound, 16 min.

Manon de Boer, Tacita Dean at 1301PE, Los Angeles, by Jody Zellen

In “The Last Beautiful Pleasure” two films play in the darkened gallery space. Downstairs is a portrait of Sylvia Kristel by Manon de Boer; and upstairs, a portrait of David Hockney by Tacita Dean. What is striking in these filmed portraits is that both subjects are smoking and this activity — conscious and unconscious — is about so much more.

Their smoking functions as a metaphor for duration and pleasure. De Boer’s short film “Sylvia, March 1 and March 2, 2001, Hollywood Hills” (2001-2005) portrays the French actress (best known for her role as Emmanuelle) outside, surrounded by nature yet tightly framed. As she gazes silently at the camera, smoke from her cigarette billows around her. Dean’s “Portraits” (2016) depict David Hockney in his studio. He is shot both close up and from a distance as he inhales, exhales and casually flicks ashes onto to the floor without a care in the world. Although smoking is now looked down upon as a known health hazard, in film it is has long been accepted as a trope and an affect. In these films, Dean and de Boer investigate the visual power and pleasure of this activity.

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Newsweek: Superflex Uses Humor to Challenge Corporate Power


From left, Fenger, Christiansen and Nielsen of the Danish art collective Superflex. 
Nikolaj Møller/Blink Production

Joke’s on You: Superflex Uses Humor to Challenge Corporate Power by Francesca Gavin

Sitting around the white Ikea-like desk in their studio, on the ground floor of a low-key office building in the gentrified northern part of Copenhagen, the core members of the Danish art group Superflex seem far less confrontational than you might expect. From their bases in Copenhagen, Stockholm and London, Jakob Fenger, Bjørnstjerne Christiansen and Rasmus Nielsen have been working together for 25 years on politically charged projects that have taken them everywhere from Texas to Africa, via Bangkok, Japan and many of the world’s most prestigious art galleries. This year sees their most high-profile commission to date, with the recent announcement that they are the latest artists invited to fill the vast Turbine Hall of London’s Tate Modern. Yet, despite the glamorous-sounding projects and their globe-trotting lifestyle, the three men, all in their 40s, appear surprisingly grounded, dressed in casual clothes, with a beard here, some gray hair there and plenty of lines around the eyes.

Talking about their provocative work—which has included such pieces as an exact replica of the toilets used by the U.N. Security Council in New York, erected on a beach in the Netherlands in 2010, and a video installation, made in 2009, that attempted to hypnotize viewers so that they might perceive climate change from the perspective of a cockroach—they are serious, patient and have a clear sense of their approach. Intent on challenging globalization and power structures, they call their works “tools,” suggesting a broader application beyond art.

Though their mission is pugnacious, playfulness is central to the Superflex worldview. “Humor is just one of the buttons you can press. It’s very effective. It’s also challenging. It’s not just fun,” says Nielsen. The collective’s work questions economic systems and the commodification of art, but the artists also highlight the comedy innate in everyday life. They call 1970s Danish children’s television a main source of inspiration, and their works are more likely to be experiences rather than objects. “We want to do things that have an impact,” Christiansen says. “Understanding the systems and the game of the realities that we choose to participate in is crucial. Let’s say it’s important to smash things before you can move on.”

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Independent Collectors: Interview with Clayton Press & Gregory Linn


Diana Thater, The Best Animals Are the Flat Animals, 1998

Clayton Press and Gregory Linn are well known as early identifiers of emerging talents, many of which have developed into artists who are well recognized in the contemporary canon – from Richard Prince to Diana Thater, from Jutta Koether to Borna Sammak.

Our approach is to develop portraits of artists’ careers, collecting several works – 5, 10, 15 – over time. For us, we are most interested in making a commitment to artists who are doing something fresh and evolutionary. We own paintings, time-based media, photography, sculpture, installation, and even several URLs (domain name and web application). Here is an example by Damon Zucconi, www.dictionary.blue.. By supporting these artists longer term, we feel – rightly or not – that we are encouraging them to push forward and through.

We took this approach first with the Pictures Generation, and then we did this with artists like Angela Bulloch, Stan Douglas, Zoe Leonard, Jason Rhoades, Kay Rosen, Diana Thater, Franz West, TJ Wilcox, and Christopher Williams in the 1990s. Next came, Matthew Brannon, Wade Guyton, Jutta Koether, Seth Price, and Kelley Walker in the 2000s. Now we are making similar, deep commitments to artists like Adam Henry, Jacob Kassay, Win McCarthy (whose work we first saw at Art Cologne in 2014), Borna Sammak, Kyle Thurman, and Damon Zucconi.

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The Irish Times: Paul Winstanley, Minimalism in the Dutch Golden Age at the Kerlin


Paul Winstanley, Lost (After Saenredam), 2016, oil on gesso on panel, 72 x 66 cm / 28.3 x 26 in   

Minimalism in the Dutch Golden Age at the Kerlin by Aidan Dunne

Paul Winstanley: Faith After Saenredam and Other Paintings
Kerlin Gallery, South Anne St, Dublin 

The key work in his new show at the Kerlin is his recreation, or re-imagination, of a lost painting of Mariakerk by Saenredam. Winstanley set about approximating it by referring to a surviving, precise preparatory sketch. Then he moved on to make another painting of Mariakerk, but from a slightly altered viewpoint, so that we can see a window and a golden tapestry, both of which, he points out, were documented as being there. But in composing his painting, Saenredam made sure neither would be seen, though he did include comparable elements in other paintings. The bottom line is that Winstanley’s re-imagination of the Saenredam is of course a Winstanley. And perhaps our version of anything is uniquely our own.

Other paintings include people looking at paintings in the National Gallery, London. A man and a woman stand before a Vermeer. A larger group moves around in front of a religious icon painting. The moving figures are blurred as though by a long photographic exposure. The figures are ephemeral, the artworks fixed and bathed in light. There’s also a painting of a recurrent subject: a birch tree, which of course changes all the time even in its constancy. Seeing is believing, but the implication of these beautifully poised works is that our faith may be misplaced.

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Judy Ledgerwood: Chromatic Patterns, Bloomberg mural, New York


Judy Ledgerwood, Chromatic patterns, 2016-2017, site specific wall painting at Bloomberg

Judy Ledgerwood’s Chromatic Patterns mural for Bloomberg is at the new 919 3rd Avenue building in New York. It’s inspired by the idea of place-making, about making the work space “a personal space rather than a more generic public space,” according to Ledgerwood.

Watch slideshow here




Contemporary Art Daily: Venice, Philippe Parreno at The Central Pavilion and The Arsenale



Venice: Philippe Parreno at The Central Pavilion and The Arsenale

Philippe Parreno: All the World’s Futures

The Central Pavilion and The Arsenale at the Venice Biennale

May 9 – November 22, 2015

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Domus: Pae White, Qwalala


Pae White, Qwalala, installation view, Le Stanze del Vetro, Venice, 2017

Pae White: Qwalala

until 30 November 2018

Pae White, Qwalala

Le Stanze del Vetro

Isola di San Giorgio Maggiore, Venice


Qwalala, a monumental new sculpture by American artist Pae White, opened to the public on the Island of San Giorgio Maggiore in Venice, coinciding with the 57. International Art Exhibition – La Biennale di Venezia. Qwalala consists of a curving wall made only of solid glass-bricks. 75 metres long and 2,4 metres high, the thousands of glass bricks for Qwalala were hand-cast by Poesia Glass Studio in the Veneto region. Each of these hand-cast bricks is unique, owing much to chance and variation inherent in the artisanal manufacturing process.

Approximately half of the bricks are made of clear glass. The other half span a palette of 26 colours, and are made using a technique where each brick contains a storm-like effect of swirling colour, while remaining transparent. For this project, the individual bricks present the idea of modules of contained chaos. The artist combines these bricks to form an abstract, painterly pattern when viewed from afar, which, upon closer inspection, reveals unexpected worlds of detail. The muted blues, greens, pinks, greys and browns of the palette are drawn from colours used in first century Roman glassmaking created by the presence of sulphur, copper, manganese, and other metals and minerals.

The title of the piece, Qwalala, is a Native American Pomo word meaning “coming down water place.” It references the meandering flow of the Gualala river in Northern California, which the work echoes in both its structure and layout. The wall’s ever-shifting play of light, recalls the way in which the colour and temperature of the river water changes minute to minute as it meets the Pacific Ocean. Additionally, the name “Qwalala” itself, rolling off the tongue, also mimics the visceral experience of the body as it journeys around and through the curves of the wall.

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Kerry Tribe: Recipient of the 2017 Herb Albert Award in the Arts



Kerry Tribe: Recipient of the 2017 Herb Albert Award in the Arts


The Herb Alpert Foundation announced the 2017 winners of its annual Award in the Arts, which are given out annually by the foundation and the California Institute of the Arts. Each award honors a mid-career artists and comes with an unrestricted $75,000 prize. This year’s winners are: Luciana Achugar for dance, Kerry Tribe for film/video, Eve Beglarian for music, Daniel Fish for theatre, and Amy Franceschini for visual arts.

Kerry Tribe, for her fearlessness in rethinking and readdressing social issues, her ability to make surprising and moving connections, for her demanding, pleasurable, transformative, and accessible work. They value her empathetic, generous and rare ability to immerse her audiences in new ways of seeing the world.

Past winners have included Simone Leigh, Tania Bruguera, Emily Jacir, Roni Horn, and Kerry James Marshall.

“It’s particularly meaningful at this divisive moment to honor and support this year’s winners who are rigorous in their reach, alert to the world, and make community as much as they make art,” Irene Borger, the director of the Herb Alpert Award in the Arts, said in a statement.

More information

ARTnews, Herb Alpert Awards Name 2017 Winners, by Robin Scher

Los Angeles Times, Why the current political moment makes the new Herb Alpert awards for experimental artists so relevant, by Carolina A. Miranda





Opening this week in Venice




13 May – 26 November 2017

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Central Pavilion

Giardini, Venice



Applied Arts Pavilion

Arsenale, Venice




Pae White, “Qwalala”, work in progress



Island of San Giorgio Maggiore, Venice

12 May 2017 – 30 November 2019

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Qwalala, a monumental new sculpture by artist Pae White, will open to the public on the Island of San Giorgio Maggiore in Venice, coinciding with the 2017 Venice Art Biennale. Qwalala consists of a curving wall made only of solid glass bricks, which occupies the entire area opposite LE STANZE DEL VETRO. At 75 metres long and 2.4 metres high, the 3,000 glass bricks for Qwalala were hand-cast by Poesia Glass Studio in the Veneto region. Each of these hand-cast bricks is unique, owing much to the chance and variation inherent in the artisanal manufacturing process.


Palazzo Fortuny

San Marco, Venice

13 May – 26 November 2017

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To coincide with the 2017 Venice Art Biennale, the Axel & May Vervoordt Foundation and the Fondazione Musei Civici di Venezia will present their sixth and final exhibition: Intuition. The exhibition will explore how different manifestations of intuition have shaped art across geographies, cultures and generations. It will bring together historic, modern and contemporary works related to the concepts of dreams, telepathy, paranormal fantasy, meditation, creative power, hypnosis and inspiration.





Pae White: “Demimondaine” at kaufmann repetto



Pae White: Demimondaine

kaufmann repetto, Milan, Italy

8 May – 9 September 2017


The exhibition title lends itself to the French “demi-monde” or “half-world”, a popular phrase at the turn of the early twentieth century characterizing those living opulent, pleasure-driven lifestyles. The derivative “demimondaine” spoke of the women that lived on the fringe of respectable society, straddling the standards of the “real-world”. Their way of life a challenge of the status quo but existing within the con nes of those very ideals – a controlled excess, a chaos within boundaries.

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Cultured Magazine: 1301PE Celebrates 25 Years



1301PE Celebrates 25 Years

On April 28, 1301PE celebrated its 25th anniversary with an intimate dinner and two exhibitions at their gallery. On view in the main gallery is “The last beautiful pleasure,” with work by Tacita Dean and Manon de Boer, including works on view for the first time in L.A.: Sylvia, March 1 and March 2, 2001, Hollywood Hills and Dean’s Portraits. In the new viewing room, the exhibition “Life of riot at 25” depicts 1301PE’s storied history through posters and postcards produced at the gallery over the last quarter century.

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Cultured: Brian Bulter, 1301PE



An Open Book by Maxwell Williams

Brian Butler, the owner of 1301PE, holds back on nothing for our two-hour interview. He’s held a prime vantage point for more than two decades and we touch on subjects like how in the past few years, big galleries have tried to control artists the same way Monsanto controls seeds (choosing monoculture over biodiversity); how our culture wants “the Harry Potter box set” of a particular artist’s works (the finished story, instead of waiting to see how it develops) and how the gallery opened 25 years ago on the inauspicious day that the L.A. Riots began.”We sat around for a couple of days with nobody coming to see the exhibition,” Butler says, reminiscing back to the inaugural Ericson & Ziegler show in April, 1992.

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Kerry Tribe: Parque Galeria, Mexico City



Kerry Tribe: the word the wall la palabra la pared

Parque Galeria, Mexico City

May 6 – July 1, 2017

Tribe’s new works in video, sculpture and photography playfully literalize ideas around linguistic communication, transnational relations and empathy. The exhibition continues Tribe’s investigation of the “speaking subject” who narrates their experience for an audience. The show is organized around a video in English and Spanish called Afasia (2017) which features the artist’s friend photographer Christopher Riley, who, at the age of 43, suffered a left hemisphere stroke that severely limited his ability to speak, write and understand language. Despite these challenges, he passionately communicates an appreciation of his life and the vast world around him. The video is projected in a make-shift screening room built from the remains of what had previously been the gallery’s front wall.


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Fiona Banner: De Pont Museum, Tilburg, Netherlands



Fiona Banner: Runway (AW 17)

De Pont Museum, Tilburg, Netherlands

29 Apr – 27 Aug 2017


In the vast industrial space of De Pont’s main gallery, Banner creates a theatrical mise-en-scène where towering helicopter rotor blades and re-purposed military plane parts become the unknowing cast. Her deft handling of these objects reveals their anthropomorphic potential: Gazelle helicopter rotor blades are reminiscent of totem poles; a pair of Harrier nose cones suggest breasts, and elsewhere faces emerge from the juxtaposition of Jaguar drop tanks with abstract graphite drawings of full stops in different typefaces. Banner has long been fascinated by military aircraft, finding them at once beautiful and horrifying; almost ‘prehistoric, from a time before words’.

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Charline Von Heyl: Capitain Petzel, Berlin


“Boomerang (Aboriginal Sin)”, 2017, Acrylic and oil on linen, 208.3 x 198 x 4 cm / 
82 x 78 x 1.6 inches © the artist, courtesy Capitain Petzel, Berlin, photo: Jens Ziehe

Charline Von Heyl

Capitain Petzel, Berlin

April 28 – June 3, 2017

Charline von Heyl creates paintings that function as self-perpetuating visual events, enigmatic pre- sences silently seducing or disturbing the viewer. They are often funny, but not afraid of poetic depth and even pathos. The colors are active: they shift, empty out or recharge depending on the time of day and the position of the viewer. Interference colors made to engage paradoxically with light con- fuse the hierarchy of tonality. Copper, aluminum-flakes, dirty pastels, charcoal powder, fluorescents but also graphic black and white are laid down in unstable and abused layers to provoking different moods and feelings.

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Angela Bulloch: Esther Schipper, Berlin


Heavy Metal Tall Stack: Beige and Blues, 2017 (detail; foreground), Powder-coated steel, 400 x 70 x 50 cm, Photo © Andrea Rossetti

Angela Bulloch: Heavy Metal Body

Esther Schipper, Berlin

April 28 – June 17, 2017

Drawing on her previous experiments with geometrical distortion, these new works expand in form and size. If the stylized geometry of Heavy Metal Tall Stack: Beige and Blues, which stands at more than three meters tall, recalls the formal aesthetics of Constantin Brâncuși’s sculptures, something about the appearance of Heavy Metal Stack: Fat Beige Three and Heavy Metal Stack of Four: Red Monster—three massive rhomboid elements for the former and a pyramid-like shape for the latter—associated with their title, invokes the idea of an anthropomorphic presence. By changing the appearance of each column in accordance to one’s point of view, Bulloch plays with our perception of sculptures while orchestrating our experience as gallery visitors. To envision the work in its entirety the viewer must circulate around the sculpture, which at times seems graphic—almost abstract—shifting between two and three dimensions. Here, the artist transfers major themes of Minimalism into the present, and more specifically, the aesthetic exploration of objects’ influence on spatial perception.

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Kirsten Everberg: Galerie Eric Hussenot, Paris


Market, 2017, Oil and enamel on canvas over wood panel, 183 x 228,5 cm 

Kirsten Everberg

Galerie Eric Hussenot, Paris

22 April – 3 June 2017

Exploring  the  complex  relationships  between  culture,  history  and  place,  Kirsten  Everberg applies the framework of distinct ethnic neighborhoods in Los Angeles to create a new body of work, using the concept of Chinatown as a jumping off point.

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Ana Prvacki: Socle du Monde Biennale, Herning, Denmark



Ana Prvacki

Socle du Monde Biennale

22 April – 27 August 2017

The 2017 Socle Du Monde Biennial takes place at HEART – Herning Museum of Contemporary Art, Herning Højskole, Carl-Henning Pedersen & Else Alfelt’s Museum, The Geometric Gardens and HEART’s Sculpture Park.

Socle du Monde 2017 presents a wide range of works. Paintings, installation art, sculptures and performances – from colourless paintings, shit in a can and live chickens to art exchanges and a dancing light robot.

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Kerry Tribe: Faena Art, Biennale of Moving Images, PAMM, Miami


Kerry Tribe, still from Exquisite Corpse, 2016.

Kerry Tribe: Exquisite Corpse

Pérez Art Museum Miami

Thursday, April 20th, 7 pm

PAMM will screen Exquisite Corpse, a 51-minute installation and single-channel film that follows the 51-mile Los Angeles River from its origins in the San Fernando Valley northeast of the city to its terminus at the Pacific Ocean. Using a detailed map as a script, Tribe’s camera captures the river’s varied landscapes, neighborhoods, inhabitants, and communities through a string of meditative encounters that collectively describe the site, and the city, at this juncture in its history. Tribe’s film is shown as part of Faena Art’s presentation of highlights from the Biennale of Moving Images, on view at Faena Art April 13-30, 2017.

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Jorge Méndez Blake: Meessen De Clercq, Brussels, Belgium


Detail of Calligrammes. Poèmes de la Paix et de la guerre (Guillaume Apollinaire), 2017, 
Ink on paper, polyptich of 12 pieces. 27,5 x 37,5 cm (each). Edition of 3 + 1 AP

Jorge Méndez Blake

Apollinaire’s Misspell and Other Calligrams

March 30, 2017 – May 13, 2017

It’s raining women’s voices as if they had died even in memory. This is the first sentence of the poem II pleut (It’s Raining) by Apollinaire. One of the famous Calligrams which dynamited the form and typography of poetry at the beginning of the 20th century. This poem has always intrigued Jorge Méndez Blake, who explores the intimacy of world literature in his work. The Mexican artist questions both the language and the structure of a work, from its foundations to its rafters. The exhibition Apollinaire’s Misspell and Other Calligrams pays tribute to the singularity of the poems written by Apollinaire right in the middle of the First World War. 


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LA Weekly: 15 Female Artists Who’ve Shaped the L.A. Art Scene


Uta Barth, In the Light and Shadow of Morandi (17.01), 2017, face mounted, raised, shaped, 
Archival Pigment print in artist frame, 48.75 x 52.75 x 1.75 inches (framed), edition of 6, 2 APs.

15 Female Artists Who’ve Shaped the L.A. Art Scene by Eva Recinos

Uta Barth

Known around the world for her unconventional style of photography, Uta Barth calls Los Angeles home and received her MFA at UCLA in 1985. Barth’s compositions usually require that viewers allow their eyes to adjust a little; there seems to be nothing really there, but the faint shapes that come to the surface turn out to be haunting. Her work is a part of major museum collections including those at the Hammer Museum, LACMA and the Getty. 


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LA Weekly: 5 Art Shows to See in L.A This Week


Uta Barth, Untitled (17.04), 2017, Archival Pigment print in artist frame (welded aluminum, 
optium), 75.75 x 64.875 x 2.5 inches (framed), edition of 6, 2 APs. Installation view 1301PE. 


Quietly serious – Uta Barth at 1301PE by Catherine Wagley

One six-foot-high image in longtime L.A. artist Uta Barth’s current show at first looks like a painting when you see it hanging at 1301PE. In fact, it’s an especially sharp photograph of the white-painted exterior wall of Barth’s studio. The sunlight makes the subtle inconsistencies of the paint job apparent and, as with much of Barth’s best work, the image’s quietness has more intensity than serenity. It requires your attention and demands that you acknowledge all its mundane but idiosyncratic details.  

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Diana Thater: ARoS Triennial (The Garden – The Past), Denmark



ARoS Triennia: The Garden – The Past

April 8–July 30, 2017

The first ARoS Triennial will feature major new commissions and large-scale installations across the city of Aarhus, Denmark. Focusing on depictions of nature throughout history, the Triennial will be split into three sections: The Past, The Present and The Future. The launch of the Triennial will coincide with Aarhus’ year as European Capital of Culture.

The Past, which opens April 8, will span 400 years and will illustrate man’s relationship with nature: from the powerful orchestration of the baroque garden, the mathematically constructed landscapes of neo-classicism, and the sensuous gardens of the rococo to the monumental use of nature in land art projects and modern man’s impact on nature portrayed in contemporary art. The Past will provide the historical context for the Triennial theme and will be spread across several levels of the ARoS Aarhus Art Museum, comprising more than 100 works (paintings, installations, video art, and sculptures) by artists including Nicolas Poussin, Paul Gauguin, Edvard Munch, Robert Smithson, and Meg Webster.

The Past will feature works by Nicolas Poussin, Claude Lorrain, Antoine Watteau, Jacob Isaacksz. van Ruisdael, John Constable, Caspar David Friedrich, Edvard Munch, Paul Gauguin, Pierre-Auguste Renoir, Maurice de Vlaminck, Emil Nolde, Max Liebermann, Ernst Ludwig Kirchner, Paul Klee, Max Ernst, Jean Arp, René Magritte, Giorgio de Chirico, Robert Smithson, Joan Jonas, Richard Long, Diana Thater, Meg Webster, Olafur Eliasson, Damián Ortega, Darren Almond, and Pamela Rosenkranz.

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Diana Thater: “A Runaway World ” at The Mistake Room, Los Angeles


Image Credits: T. Kelly Mason. 

Diana Thater: A Runaway World

April 1 – June 3, 2017

For her exhibition at The Mistake Room, Thater will present two works she produced in Kenya in 2016 and 2017. Conceived as both portraits and landscapes, the works will be staged within a unique architectural environment of free-standing screen structures that the artist designed. The works give us glimpses into the lives and worlds of two species on the verge of extinction—rhinos and elephants—and the illicit economies that threaten their survival.

The first work, As Radical as Reality, revolves around Sudan—the world’s last surviving male white rhino. Protected from poachers by guards who accompany him at all times as he roams the grounds of the Ol Pejeta Conservancy, Sudan represents the last hope of his species but he has shown no interest in mating with the two female rhinos who also live at the Conservancy. When he dies, at some point in the near future, so will the rest of his kind. Thater was given unprecedented access to film Sudan and his guards. Over the duration of a week, Thater filmed Sudan and his human companions in the wild during the day and at night—capturing their daily lives from a very intimate perspective. For Thater, a species is a world unto itself—a configuration of existence that is worthy of our contemplation. Thus, in this work, Thater attempts to metaphorically assemble a portrait not only of a species, but also of an entire world coming to an end.

The second work, A Runaway World, captures a herd of Elephants that Thater filmed in Kenya’s Chyulu Hills earlier this year. The elephants meander through on one screen as images of the terrain in which they reside are projected onto an intersecting one; gesturing to the relationship between the natural environment and survival. This changing landscape, forged by shifting images of majestic beings and the land between Mount Kilimanjaro and the Chyulu Hills, comes into focus only momentarily—reminding us of the fragility of the world and our complicity with its longevity.

Presented together in the space, this portrait of beasts and this landscape inhabited by beasts ask us to confront urgencies that are going to shape the well being of a future all species will inhabit and to accept a reality that too many today are attempting to frame as fiction. 

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Bloomberg: Philippe Parreno on “Brilliant Ideas”



Bloomberg’s ‘Brilliant Ideas’ documentary

Each ‘Brilliant Ideas’ episode profiles an artist from around the world who specializes in a medium that could include sculpture, painting or performance art. The artists discuss their lives and careers, including how they got into the industry and what inspires their work.

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KCRW: Uta Barth at 1301PE


Uta Barth, 2017. Installation view 1301PE. 

Uta Barth at 1301PE

Hunter Drohojowska-Philp praises the photographer’s skill with light and shadow.

Uta Barth is best known for her photographs chronicling the effects of light in her studio, images that are minimal in both their appearance and sources. Her exhibition In the Light and Shadow of Morandi at 1301 PE is a more dramatic intervention. By placing colored glass vessels on a table in her studio, she photographed the effect of light passing through them to cast colored, rippling, fanciful shadows.

The show is an ode to the modern Italian artist Giorgio Morandi, who repeatedly painted still lifes of bottles, bowls and pitchers in a monochromatic and poetically simplified manner. Barth follows his method of returning repeatedly to similar compositions in order to concentrate on the relationships between the shapes of different vessels, the effects of light, whether radiant or cloudy, the range of possible colors.

Barth is not slavishly copying but borrowing from Morandi to analyze the differences between the individual perception of a painter and the camera’s eye. Barth compensates for the parallax distortion of photography by combining different points of view in a single image. Objects appear both solid and translucent. Are we seeing the actual vessels or just their reflections and shadows? Heightening the effect, each photograph is presented on a matte that is cut to correspond to the black table bearing the vessels, which adds to the illusion of receding perspective. One edge of the matte is colored by Barth — yellow, blue — in a way that is scarcely noticeable but still adds a sense of containment. A shadow of the artist’s hand in the arrangement is included in some pictures, as it has in some of her past work, as though the artist wants her intellectually and perceptually evolved art to retain a sense of self.

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Artillery: Uta Barth at 1301PE


Uta Barth, In the Light and Shadow of Morandi (17.01), 2017, face mounted, raised, shaped, 
Archival Pigment print in artist frame, 48.75 x 52.75 x 1.75 inches (framed), edition of 6, 2 APs. 

Uta Barth by Ezra Jean Black

Uta Barth’s work has always dealt with the way images and perceptions are shaped through both the tools and conventions of image making. Much of that work has addressed more specifically divergences between those synthetically shaped and focused perceptions and expectations conditioned by convention. In the body of work currently on view at 1301PE, shape itself is made the ‘foreground’ threshold for what becomes a dazzling play on the essential materials of photography and image-making generally. The subject is nominally a bar or serving console with bottles, decanters, vases and other vessels arrayed across it – the kind of still life that was a favorite subject of Italian painter, Giorgio Morandi; and In the Light and Shadow of Morandi becomes clearly, not only an homage to Morandi, but itself a kind of painting with refracted light. The process is willful and deliberative in every respect, yet also admitting of mystery. ‘Field’ here is shaped subtly into simple polygons and floated within the framed squarish rectangle – echoing the severe rectilinear geometry of the bar. The bar is mostly blacked out; but even here, Barth subtly conflates and confuses its structure with its shaped polygonal support. The angle seems to shift, elongate, flatten. Slits or storage spaces (or apertures?) reveal openings or other vessels beneath the bar’s surface. The focus and emphasis are on the silhouetted verticals of the vessels infused by the (mostly horizontal) refracting light and its luminescent color – dazzling and ethereal. The vessels are rendered as distinct worlds, alternately separated crisply by white space or clustered close; yet not bleeding so much as displacing each other, each preserving its specific transmuted atmospheres in a spectrum of glass-inflected colors: chartreuse veering into olive (or even ‘bottle’) green; azure and sapphire; amber, rust and ox-blood red; and a host of smoky grays. Occasionally a refracted wave makes a jagged trajectory across the field; zones of color are layered within a vessel; or a human arm (similarly transformed and luminescent) intrudes upon the tableau to grasp a glass or vessel, setting off its own disturbances – e.g., an inverted parabola of light. ‘Ghost’ lights linger here and there upon the opaque blacks of the bar. In another Untitled series (only one of which is on view here), Barth fixes her thoughtful gaze on an exterior wall – as powerfully and poetically as she does on the classic Morandi motif. This is work that stands in no one’s shadow. 

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Kerry Tribe: “Top Five Buddy Cop Films” at Steve Turner, Los Angeles


Top Five Buddy Cop Films, Installation view, Steve Turner, March 2017

Top Five Buddy Cop Films

Amanda Ross-Ho & Diedrick Brackens, Larry Johnson & Adam Stamp, Joel Kyack & Lisa Anne Auerbach, Kerry Tribe & Edgar Bryan, Lila de Magalhaes & Roni Shneior, curated by Santi Vernetti

March 23 – April 29, 2017

Top Five Buddy Cop Films is an exhibition of collaborations between five pairs of Los Angeles-based artists, curated by Santi Vernetti.

On paper, the practices of Kerry Tribe and Edgar Bryan couldn’t be more dissimilar. Tribe works mostly in film, video, and installation, while Bryan works mostly in painting, book design, and clay. What they share is a collection of overlapping interests and approaches to making. Both explore the boundaries and possibilities of gesture and representation within their chosen mediums. They also share a rich history of collaboration with other artists, friends, and strangers.

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Ann Veronica Janssens: ”MARS” at the Institut d’art contemporain, Villeurbanne/Rhône-Alpes, France


© Ann Veronica Janssens. Photo : Isabelle Arthuis

Ann Veronica Janssens


Institut d’art contemporain – Villeurbanne/Rhône-Alpes

From 24 March to 7 May 2017


1301PE is pleased to announce MARS, a large-scale solo exhibition of Ann Veronica Janssens’ work at the Institut d’art contemporain. The entire space will be dedicated to new pieces referring to existing works.

Ann Veronica Janssens bases her work on the act of perception, developing an experimental research through the prism of physical phenomena such as light, colour, sound, or mist. Using stripped-down gestures, the artist activates ‘undefined zones’ between blindness and revelation. These gestures seek to render manifest the indefinable and transitory nature of the very material of reality. Duration, space, and movement determine their primordial conditions.

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SUPERFLEX: Hyundai Commission for the Turbine Hall, Tate Modern, Britain




Turbine Hall, Tate Modern

3 October 2017 – 2 April 2018

1301PE is pleased to announce that Danish collective SUPERFLEX will undertake this year’s Hyundai Commission for the Turbine Hall, opening on 3 October 2017. It will be the next in this major series of annual site-specific commissions by renowned international artists.


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The New York Times, Superflex Is Chosen for Tate Modern Turbine Hall

The Guardian, Danish artists Superflex next for Tate Modern Turbine Hall 




Artforum: Blake Rayne, Blaffer Art Museum, University of Houston


View of “Blake Rayne,” 2016–17. Foreground: A Line, 2013. Background, from left: Untitled, 
2010; Untitled, 2010. Photo: Peter Molick.

Blake Rayne


—Paul Galvez

I have seen the work of Blake Rayne in bits and pieces over the years, and in each instance I have been puzzled by what I like to call the ugly ducklings nestled within his installations. By this I mean the one work out of a gaggle of beauties that seems to be deliberately, aggressively out of place. For example, the yogurt container–cum–projection screen perched on the windowsill of Campoli Presti’s London gallery back in 2012 (Yogurt Cinema, 2014). In a mostly pristine exhibition, it stood out like a sore thumb.

Sometimes the clash makes sense. The decision to hang paintings next to their wooden transport crates worked marvelously in the 2008 exhibition “Dust of Suns” at Miguel Abreu Gallery in New York, reminding us, once again, that canvases are objects, too. I therefore waited with bated breath for Rayne’s midcareer retrospective, curated by Javier Sánchez Martínez, in which the ugly ducklings, with the additional context that only such overviews can provide, would finally become glorious swans.

Or so I thought. Instead of finding peaceful resolution, Rayne’s oeuvre seems at war with itself. Take, for example, the atrium-like entry gallery, the first of the show’s two rooms, in which Rayne’s well-regarded series of canvases that have been folded, sprayed, and sewn (in that order) are understandably highlighted. However, as if to slight their elegance, a gang of incompatible objects—a book of felt (A Line [Almanac], 2013), glasses on a wood table next to a plant in a cardboard box (Table of Contents, 2010), a plastic bottle (Untitled, 2016)—loiters at the center of the room. I suppose the two sets (paintings and things) share a readymade quality. But even so, their visual incongruity overshadows any sense of filiation.

The placement of works in the second room only accentuates the discord. A small squiggly red, white, and blue canvas, Untitled, 2012, neighbors five of Rayne’s iconic wall works from the series “Cover Letter,” 2010, featuring felt letter a’s drooping off their canvases onto the floor. Since I don’t think an homage to Brice Marden’s “Cold Mountain” paintings or Robert Morris’s antiforms is intended, I can only assume that the disjunction between pictorial and sculptural, smooth and textured, line and letter, is the goal here.

Everywhere you turn, unlike is pitted against unlike, most jarringly whenever one’s gaze crosses a towering, eclectically composed mobile of T-shirts, 3-D letters, and a bicycle hanging in the middle of the room. One corner of the room does, however, approach legibility: A pair of Day-Glo, dye-sublimation-printed abstract canvases draped with equally garish vinyl garlands, both Untitled, 2010, are a canny criticism of the arbitrary, decorative impulse underlying so much of today’s computer-generated painting. Bracketing these is a pile of the aforementioned felt a’s, A Line, 2013, and an André Cadere–esque pole. Altogether, the trio surveys the multiple ways in which color can be used as a sign.

Coming from a lesser artist, such cacophony might indicate a confused mind. But works such as Untitled, 2011, a panel onto which a chart from Cynthia and Harrison White’s art-historical text Canvases and Careers (1965) has been silk-screened, show that Rayne is no dummy. The graphic lists by year the number of paintings that each of the Impressionists made over the course of their careers, documenting in numeric form their respective moments of breakthrough. Rayne is all too aware of the complicity between the making and the marketing of art. And indeed, interpretations of his work have tended toward over-cerebralization, earnestly shrouding it in a cloud of semio-speak (abetted by Rayne himself, it must be said). While there is something admirable and even necessary about linking such an artistic practice to the digital and the socioeconomic, I fear that this body of work’s most striking feature—namely, the violence of its juxtapositions—has been somewhat downplayed in the artist’s critical reception.

It is exceedingly ironic that an oeuvre so hostile to any overarching narrative should so often be explained by one. For it is hard to find a practice with a comparable level of purposeful discontinuity and obfuscation. Rayne’s work is neither pastiche nor bricolage, neither assemblage nor pure shock. It would seem that the artist seeks above all to preempt totalization of his practice by any interpretive system, going so far as to refuse to establish a system in the first place. The interpreter’s frustration would be akin to sexual frustration, were it not for the fact that the work is so decidedly unerotic. Therefore, the closest thing I can come up with is that emblem of mechanized frustration, the bachelor machine, minus Duchamp’s irony and duplicity.




LA Times: Petra Cortright’s digital paintings, a tangled web of dots and swipes


Petra Cortright, “man_bulbGRDNopenz@CharlesSchwaabSto9ds,” 2016

Petra Cortright’s digital paintings, a tangled web of dots and swipes by Christopher Knight

Petra Cortright’s paintings wedge themselves between the celebrated history of gestural art, mostly Expressionist and abstract, and the past generation’s frantic upheaval of established visual norms generated by the emergence and now ubiquity of digital imagery.

Think of them as touch-screen paintings.

If you’ve ever done a drag-and-drop, you’ll have a general idea of the five recent paintings in Cortright’s inaugural solo exhibition at 1301PE. Digging around the Internet and using familiar computer software, she cobbles together pictures, palettes and markings into big, mostly dense and tangled compositions for printing on large sheets of rag paper and Belgian linen.

The squiggly marks on the surface recall the oily, swiped residue left behind by fingers on a smartphone or tablet. The big difference is that actual screen marks are tactile, while the smooth, inert surfaces of Cortright’s digitally printed paintings are not. There’s some tension between old and new conceptions of “the artist’s touch,” but as yet it’s more cerebral than intuitive.

The intuition comes in the compositions. Cortright piles on loops, swoops, scribbles and slathers, invoking the ironic fusion of personal gesture and impersonal mass-production in Roy Lichtenstein’s sleek brushstroke paintings from 1965-66. Where he made big gestures, however, which befit the crushing scale of the banality that had come to engulf Abstract Expressionist art, she taps into the sheer volume of today’s roaring digital deluge.

Look closely, and an ancient Greco-Roman sculpture or a bunch of gaily colored pansies pokes through the enormous gestural mass. Nearby, in five flash-animation videos on small flat-screens, animals both real and imaginary — deer, fish, unicorn — likewise cavort through similarly gestural fields. These juxtapositions of digital culture with nature and material culture recall interests in video projections by Diana Thater and Jennifer Steinkamp. They’re the work’s most compelling feature.

In the relationship between these paintings and animations and the abandon of children’s finger-paintings and the wackiness of SpongeBob SquarePants-style cartoons, there’s also a hint of playfulness. Given the apparent inevitability of the printed work’s inert surfaces, which operate like a visual mute button, Cortright would do well to ramp up that mischievousness.

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Hyperallergic: Proposing Painting as a Form of Refusal


‘Blake Rayne: Cabin of the Accused,’ exhibition view, Blaffer Art Museum at the University
of Houston

Proposing Painting as a Form of Refusal by Anthony Hawley

Blake Rayne’s first midcareer survey is full of linguistic disruptions and quiet repetitions, bringing to mind Bartleby the scrivener’s disarming resistance.

HOUSTON — As our 45th president’s chief white house strategist tells the media to “keep their mouth shut,” as the newly appointed press secretary chastises everyone for unfairly misrepresenting the 2017 inauguration crowds, and as Kellyanne Conway transmutes alternative facts into reality, one wonders what kind of refusal might counter refusal itself. Given a political machine working overtime to silence any competing versions of the truth, how does one counterattack a far right-extremism that touts falsehoods as “telling it like it is”? Like Tom Huhn, chair of Visual and Critical Studies at the School for Visual Arts in New York, put it in a recent piece in the New Yorker, “Part of what makes Trump attractive to many is that he practices a kind of great refusal himself, saying no to just about everything, and thereby appearing to be on the side of human beings liberating themselves from restrictions and hierarchies.” As we enter a global political climate where the alt-right is on the rise and a large constituency is convinced that it’s being “liberated” by a particular form of refusal, how does one form a refusal of another kind, one that resists and retrieves difference?

One avenue might be something akin to Herman Melville’s infamous “Bartleby, the Scrivener: A Story of Wall Street.” In it, a Wall Street lawyer hires a new clerk who, after an intense period of impressive work, simply refuses to make another copy or do any of the other office tasks expected of him. Whenever the lawyer asks Bartleby to do something, Bartleby quietly utters, “I would prefer not to.” The phrase beguiles the lawyer: It’s not exactly a bold-faced rebuttal, nor is it walk-out, a workers’ strike on the streets. While the lawyer continues to press Bartleby to do various tasks, the scrivener instead does less and less. Bartleby eventually starts living in the office as he maintains his staunch and paralyzing “I would prefer not to.”

I thought about Bartleby while viewing Blake Rayne: Cabin of the Accused at the Blaffer Art Museum at the University of Houston. Rayne’s first midcareer survey is full of linguistic disruptions and quiet repetitions, bringing to mind the scrivener’s disarming resistance. Wall Street doesn’t know the act of “preferring not to” — the simple statement has so much power not just because it interrupts but because it also creates a lingering silence in its lack of alternatives. For me, Rayne’s oeuvre and exhibition embody a similar act in the various refusals.

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T Magazine: Protest Art in the Era of Trump


“untitled (the tyranny of common sense has reached its final stage, new york times, 
november 9, 2016),” 2016, acrylic and newspaper on linen, 89 1/4″ x 73 1/4″.


Protest Art in the Era of Trump by M.H. MILLER

Rirkrit Tiravanija

Some of the most famous works of the Thai artist Rirkrit Tiravanija eschew traditional art objects in favor of social interventions, including cooking large meals in galleries and at events like Frieze Art Fair. This painting, “untitled (the tyranny of common sense has reached its final stage, new york times, november 9, 2016),” was made directly following the election, and debuted at Art Basel Miami Beach last December.

“I’ve been using newspapers for a long time now, and I draw from long lists of quotes floating in my head. It is an ongoing project at this point. In newspapers, I see the contradictions of reality and fiction play out. ‘The tyranny of common sense has reached its final stage’ is a quote from Aldo van Eyck, perhaps taken out of context, but in the wake of the recent election, the quote resonates.”

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The Art Newspaper: How an art work could literally save lives in Syria


SUPERFLEX, Hospital Equipment (2014) (Image: Anders Sune Berg,  courtesy the artists)

How an art work could literally save lives in Syria by Jose Da Silva

Danish collective SUPERFLEX’s hospital equipment installation will be shipped to war-torn country after exhibition


The Danish art collective SUPERFLEX will unveil today (17 February) a new installation called Hospital Equipment, which consists of functioning surgical equipment that will be shipped to a Syrian hospital once the exhibition is over. The collective describe the work as “a ready-made upside down, since we not only take a ready-made object into an art context, but we bring it back into the world again”.

The surgeon’s table, surgical tools and mobile lamp that form the work at the Von Bartha gallery in S-chanf, Switzerland, will be packed-up and transported to the Salamieh Hospital in Hawarti, a village in the southwestern Hama region, following the dismantling of the show on 18 March. All that will be left of the work will be three “slightly different and unique” photographs, a gallery spokeswoman says, while the rest of the piece carries out its practical functions in the hospital. But, “as much as it is an operation table in the gallery, it is an artwork inside the hospital,” the artists say.

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Ana Prvacki: Shunga lecture-performance at the Boghossian Foundation, Brussels


Ana Prvački collection, estampe Shunga, 1920

Boghossian Foundation – Villa Empain, Brussels

Shunga, the Japanese Erotic Prints

Lecture-performance by Ana Prvački

1 February 2017, at 7 pm


In the framework of Embassy of Uncertain Shores, Ana Prvački will hold a lecture-performance on Shunga. The word Shunga means erotic art in Japanese and refers to graphic images of sexual activity. The intentions of Shunga are: stimulation, consolation, seduction, education, veneration and amusement. Their influence is profound and inspiring.

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Philippe Parreno: “A Time Coloured Space” at Serralves Museum of Contemporary Art, Porugal


Philippe Parreno, Speech Bubbles (Gold), 2015 Photo: Andrea Rossetti

Philippe Parreno

A Time Coloured Space

Serralves Museum of Contemporary Art, Porto, Portugal

3 February 2017 – 1 May 2017

The Serralves Museum of Contemporary Art presents A Time Coloured Space, a major exhibition by French artist Philippe Parreno, his first in Portugal. Curated by the Director of the museum, Suzanne Cotter, the exhibition will span thirteen rooms, across two floors, occupying the museum’s entire building.

The exhibition is structured on the mathematical model of the fugue, and conceived around the idea of the counterpoint, or ritournelle, a principle whereby a particular passage is repeated at regular interludes within a musical arrangement to create compositional meaning. Governed by a similar method, A Time Coloured Space is determined not by its ‘objects’, but by the regularity and rhythm of their appearance, featuring some of Parreno’s most emblematic work dating back to the 1990s.

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1301PE at ALAC





Ana Prvacki: “Tent quintet, bows and elbows” at Art Catalogues at LACMA



Ana Prvacki’s Tent, quintet, bows and elbows

Art Catalogues at LACMA

Sunday, 15 January  4 pm to 6 pm

The tent will activate at 4:15pm | performed by Lyris Quartet

Talk, reception and book signing to follow





Ana Prvacki: “Daily practice, tuning” performance at Ming Contemporary Art Museum, Shanghai


Daily practice, tuning, performance piece, Castello di Rivoli performance, 2009

Ana Prvacki, Daily practice, tuning performance

Ming Contemporary Art Museum, Shanghai

24 December 2016 – 12 February 2017

At McaM Ana Prvački will present her Wandering Band/Performing Daily Practice series. The work was performed at Castello di Rivoli (2009), Pompidou (2010), Isabella Stewart Gardner Museum (2010-2011) and Highline NYC (2010) and will be developed for the context of Shanghai. Prvački will invite local music makers of various and diverse training to the McaM and they will be given free reign to perform their daily practice of scales, tonal exercises, and trills while roaming through the galleries and exploring the visual and acoustic environment of the museum, transforming the museum into a lyrical set. This gesture challenges the way we as individuals (both performers and audiences) physically and aurally perceive space while demystifying the labor of practice.

Every day at the musicians will gather in an attempt to harmonize without a fixed given note. They will bring their traditional Chinese and Western classical training and intuitively work together to find their way into and out of sonic chaos while exploring the conventional time-space limitations of culture and geography, searching for a universal sound of humanity. The tuning will take place around a microphone and the 15 minute exercise will be broadcast through a speaker out onto the street.

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Jack Goldstein: “Art Center Talks” Book Launch at 365 Mission, Los Angeles



Art Center Talks: Graduate Seminar, The First Decade 1986-1995

Book launch & panel discussion on Sunday, December 11th at 365 Mission

3-5pm Panel Discussion / 5-6pm Public Reception

ArtCenter College of Design’s Graduate Art MFA program announces the publication of the first of three volumes of ArtCenter Talks, a collection of transcripts of lectures given by artists, theorists and historians throughout the program’s thirty-year history. For this inaugural volume, Stan Douglas, who joined the Graduate Art faculty in 2009, chose 13 lectures from among hundreds that he deemed best represented the scope and range of the first decade of the program and its guests.

To celebrate the book’s publication, on December 11, Douglas will moderate a roundtable discussion at 356 Mission Rd. in Los Angeles that will include former faculty, alumni and visiting artists (Meg Cranston, Stephen Prina, Diana Thater, T.J. Wilcox) who participated in the “Graduate Seminar” during the decade covered by this first volume.

Contributions by: Beth B, Rosetta Brooks, Luis Castro Leiva, Meg Cranston, Charles Gaines, Jack Goldstein, Felix Gonzales-Torres, Susan Hiller, Roni Horn, Kellie Jones, Mike Kelley, Justen Ladda, Thomas Lawson, Sylvere Lotringer, John Miller, Constance Penley, Brian Routh, Mira Schor, Allan Sekula, Robert Storr, Lynne Tillman

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Fiona Connor: “Ma” at Chateau Shatto, Los Angeles




December 10 – January 14

Chateau Shatto

406 W Pico Blvd, Los Angeles, CA 90015

Ma is an exhibition curated by Fiona Connor at Château Shatto, sprung from the artist’s encounters with the photographic archives of Frank J. Thomas.

For Ma, Connor has composed a group of works that she understands as being nourished by similar concerns that she first responded to in Frank J. Thomas’ photographs, more specifically his documentation of the paintings of John McLaughlin. Ma includes works by Judy Fiskin, Sydney de Jong, John McLaughlin, Frank J. Thomas, Audrey Wollen, Bedros Yeretzian and Fiona Connor. The exhibition design has been undertaken by Sebastian Clough.

Ma is the culmination of a series of projects by Connor including a display case at the Auckland Art Gallery, a lecture at Elam School of Fine Arts at University of Auckland and an exhibition at Minerva in Sydney, Australia. This exhibition takes Connor’s research back to Los Angeles, where it began.





Arteviste: An Interview with Internet Artist Petra Cortright in Los Angeles, California


Portrait courtesy of Petra Cortright’s studio.

An Interview with Internet Artist Petra Cortright in Los Angeles, California by Flora Alexandra Ogilvy

FO:Was there a pivotal moment when you decided to be an artist?

PC: no its just always been an affliction that i’ve suffered from my whole life

FO: Can you tell us about the process of making your artwork?

PC: i troll the internet for scraps to use, and then i use some of those scraps, change some scraps around, break up some of the scraps, put some scraps back together, add my own scraps and scratches, do this all of this very quickly — and then post it. sometimes i print it out later, sometimes i don’t.

FO: What is your favourite art gallery in Los Angeles and why?

PC: and/or gallery just re-opened in pasadena after years of hiatus. originally it was in dallas, tx.  i’ve always had a huge respect for paul slocum and the community of artists that he has supported, we have all been a tight knit group of nerds for years now. i am thrilled to be working with brian butler of 1301PE now, brian and the gallery are both so cool and for lack of a smarter word so chill and we just get on so well. 1301PE is also in an area that feels so ‘LA art’ to me and i just love the way that gallery is set up, i always love an upstairs/downstairs situation like that. also maybe because its by LACMA but i just have always deeply loved that area. it just seems so so so classic LA. palm tree emoji.

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Philippe Parreno: “Thenabouts” at ACMI, Australia


Philippe Parreno, The Crowd, 2015 (film still) © Philippe Parreno, Courtesy Pilar Corrias, 
Barbara Gladstone, Esther Schipper

Philippe Parreno: Thenabouts

Australian Centre for the Moving Image

6 December 2016 – 13 March 2017

For his first solo exhibition in Australia, Philippe Parreno activates a singular retrospective of his filmic works as a cinematic ensemble in which the artist’s films play with temporal and spatial boundaries, guiding the visitor through a complex journey of images, duration, memory, and the passage of time. Controlled live by a gallery technician, no one visit is ever the same.

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Artnet: In Miami, Artists Rirkrit Tiravanija and Tomas Vu Will Teach You How to Surf


Rirkrit Tiravanija and Tomas Vu Model for RT TV Boards at UNTITLED, Miami Beach
(2016). Courtesy of the artists and Nathalie Karg Gallery.

In Miami, Artists Rirkrit Tiravanija and Tomas Vu Will Teach You How to Surf by Brian Boucher

One of the keys to surviving Art Basel week in Miami Beach is taking advantage of the Atlantic Ocean, and artists Rirkrit Tiravanija and Tomas Vu found the perfect way to bring the experience of art and surf together this year in a joint work titled DO WE DREAM UNDER THE SAME SKY. Billed as a “surf inspired participatory installation,” they’re offering custom-designed surfboards for UNTITLED visitors to get out into the water.

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Ana Prvacki: “A Song for Rio” at Galeria Fortes Vilaça, Rio de Janeiro


Ana Prvacki, “Various keys,” 2014, gel pen on gampi paper, 10.5 x 7.25 inches

Uma Canção para o Rio / A Song for Rio

Galeria Fortes Vilaça

Rio de Janeiro

PART I November 22, 2016 – January 19, 2017

PART II February 4 – March 18, 2017

What lives in the zone between the world of objects and the realm of music? A Song for Rio brings together a group of Brazilian and international artists who each in their own way attempt to answer this question by undertaking a poetic investigation of the intersection of art and music. A collaboration between Galeria Fortes Vilaça and Douglas Fogle & Hanneke Skerath.

Artists (part 1): Allora & Calzadilla, Ana Prvački, Anne Collier, Bárbara Wagner & Benjamin de Búrca, Bruce Conner, Cabelo, Cerith Wyn Evans, Chelpa Ferro, Christian Marclay, Dave Muller, Ernesto Neto, Jac Leirner, Kelley Walker, Los Carpinteros, Mark Leckey, Nuno Ramos, Paulo Garcez, Rivane Neuenschwander, Susan Philipsz, Vivian Caccuri

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Jorge Mendez Blake: “Nocturnos” at Travesia Cuatro, Madrid


Jorge Mendez Blake, Todos los nocturnos de Villaurrutia I (Nocturno, Nocturno miedo, Nocturno
grito, Nocturno de la estatua, Nocturno en que nada se oye, Nocturno sueño), 2016


Jorge Mendez Blake: Nocturnos

19 November 2016 – 10 February 2017

Travesia Cuatro

San Mateo 16

28004 Madrid

On this occasion, the artist has set his focus on the “nocturne”, a musical genre cultivated primarily during Romanticism and Modernismo, the late-nineteenth and early-twentieth century Spanish-American literary movement led by poets and writers such as Rubén Darío, Leopoldo Lugones, Federico García Lorca and José Asunción Silva, among others. The Nocturne, was popularized in Mexico by the group Los Contemporáneos, whose members included Salvador Novo, Antonieta Rivas Mercado, José Gorostiza and Xavier Villaurrutia. Who used it as the backbone of his book Nostalgia de la muerte, that would become a benchmark in twentieth-century Mexican poetry.

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Fiona Banner: “Au Cœur des Ténèbres” at mfc-michele didier gallery, Paris



FIONA BANNER: Au Cœur des Ténèbres

November 18, 2016 – January 7, 2017

mfc-michèle didier

66rue Notre-Dame de Nazareth

F-75003 Paris

On this occasion, Fiona Banner – who continuously investigates the slippage between object, image and text through the prism of graphic and editorial works – has hinged the exhibition on her adaptation of Joseph Conrad’s novella Heart of Darkness.

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SUPERFLEX: 11th Shanghai Biennale



SUPERFLEX presents Pigs, Time and Space for the 11th Shanghai Biennale ‘Why Not Ask Again?’

11th Shanghai Biennale

11 November 2016 – 12 March 2017

Pigs, Time and Space is a new film installation that addresses the exchange of pigs between Denmark and China. With a pig as the main protagonist Pigs, Time and Space is set in a dream-like universe unfolding the highlights of a historical loop from I Ching, the ancient Book on Divination, to the Schjellerup crater on the moon.

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Fiona Connor: “Brick, Cane and Paint” at Hopkinson Mossman, Auckland, New Zealand


Fiona Connor, Brick, Cane and Paint, 2016, installation view: Hopkinson Mossman, Auckland

Fiona Connor

Brick, Cane and Paint

12 November – 22 December 2016

For Brick, Cane and Paint, Connor presents work from three new notice board projects (quoted from three sites: a brick plant and a cane factory in Los Angeles, and a weavers guild in Auckland) alongside a new series titled Insert (Chopping Board).

Where previously Connor’s work has focused on bulletin boards from public spaces (such as city parks, libraries, community centres etc.), the sculptures in Brick, Cane and Paint represent activity at specific sites of production, with content generated by a fixed group of individuals. Notice Board (Pacific Clay), the set of six boards in the small and large galleries at Hopkinson Mossman, are quoted from Pacific Clay; a brick plant frequented by the artist. The Pacific Clay boards are punctuated by a single piece from the Handweavers and Spinners Guild in Mt Eden (a community organization close to the artist’s childhood home), and the boards that hang in the gallery’s office spaces are from Cane and Basket Supply, a workshop near the artist’s Los Angeles studio.

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Artforum critics’ picks: “Fiona Connor, Sydney de Jong, Audrey Wollen” at Minerva, Sydney


Fiona Connor, All the doors in the walls, 2016, installation view, Minerva

Fiona Connor, Sydney de Jong, Audrey Wollen at Minerva by Claudia Arozqueta


4/111 Macleay Street, Potts Point

October 29–December 10

Three artists whose work seems both conceptually and materially dissimilar and five press releases with different interpretations can be found here, though the title of Fiona Connor’s All the Doors in the Walls, 2016, is to be taken literally. Each door in the gallery was stripped of its function; they no longer serve as mediators or passages from one place to another but as static objects of art, disposed toward admiration for their simplicity.

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Artforum critics’ picks: Petra Cortright at Carl Kostyal, London


Petra Cortright, royal-chat—dispatchesSCANFERLA{ROM-adventures4tattoo-gun}.resx, 
2016, digital painting on Sunset Hot Press rag paper, 42 x 30″.

Petra Cortright at Carl Kostyal, London by Valerie Mindlin


Carl Kostyal | London

12A Savile Row

October 5–November 19


To call Petra Cortright an internet or post-internet artist would be similar to calling Matisse and Monet paint artists. They were painters all right, but that’s not really saying much, is it? There is, in Cortright’s work, a mesmerizing core of formalism, a newly relevant medium specificity for the cognitive gluttonous distraction of the brazenly immaterial.

“ORANGE BLOSSOM PRINCESS FUCKING BUTTERCUP,” Cortright’s first solo exhibition at this gallery’s London location, brings the manifold beguilements of her digital steamrolling into a tightly delightful showcase of canvases and flat-screen videos. And “flat-screen” is the operative word here. Cortright composes her pieces by layering their copious constituent files into final pancake of Photoshop “mother files.” Such works flatten the layered and immersive aspects of the digital economy, simultaneously parading and exacerbating its manipulative properties. Cortright’s mother files are built up from the endless iteration of what are profoundly private visual, temporal, and spatial entities. They are the wet-dream actors of adolescent sexual rehearsals, solipsistic webcam posturing, and distracted-browsing self-indulgence. Would you ever act out a real-life equivalent to an emoji in a conversation? Of course not. Cortright’s works disrupt the comforting stability that would confine the digital to the servilely personal, and make a frantically gorgeous show of it.

Where Impressionism’s heyday hypnotized us with its dynamic vibrancy in indulging the wondrous relish of the ordinary, Cortright’s new digital formalism unmoors the cognitive comforts of the private in a seductive sumptuousness of pageantry and inexhaustible possibilities.

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ART 21 Magazine: The Variations of its Shadows – An Interview with Jorge Méndez Blake


Jorge Méndez Blake. The Art of Loving, 2009. 10 ladrillos, edición de The Art of Loving de
Erich Fromm / 10 bricks, edition of Erich Fromm’s The Art of Loving, 24 x 8 x 4 cm. 
Courtesy of the artist.

The Variations of its Shadows: An Interview with Jorge Méndez Blake by Caroline Picard


Every book creates a world, a place that readers enter through language on the first page, and inhabit thereafter, as the text’s unique character compounds in an individual’s imagination. This happens with novels, with philosophy, mathematical treatises, and poems. How astonishing it is to consider the lush autonomous universe each spine on a bookshelf proposes. Each of those worlds has a logical structure that cajoles a reader into its unique proposition—a situation not so different, perhaps, from that of architecture. The Guadalajara-based multimedia artist, Jorge Méndez Blake, addresses this intersection directly by translating nuanced themes embedded in canonical books into art installations. In our interview, we discuss this process of translation, looking at how it differs from literary criticism, and drifting over the site of Emily Dickinson’s desk.


Caroline Picard: Your installations interpret the work of different authors like Samuel Beckett, Jorge Luis Borges, Emily Dickinson, Franz Kafka, Edgar Allan Poe, Shakespeare, and Jules Verne, by drawing out nuanced themes within a book (or poem) into a single place and time; it is almost like you draw a three-dimensional translation of the book in space. Do you see a connection between what you do and literary criticism?


Jorge Méndez Blake: My approach to books and language is more as a reader than as a critic. I like reading literary criticism, but I’m working from the side of art, and art should propose different ways of understanding literature, not the same ones as critics. Approaching a book through sculpture expands the possibilities of regular literary criticism. I believe some seminal texts of the history of literature have many possibilities of interpretation: there’s nothing new under the sun, but the variations of its shadows are infinite.


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Kerry Tribe: Biennale of Moving Images, Centre d’Art Contemporain Genève


A still of the Los Angeles River from Kerry Tribe’s “Exquisite Corpse” 2016.


Kerry Tribe: Exquisite Corpse

Biennale de l’Image en Mouvement

Centre d’Art Contemporain Genève

November 9, 2016–January 29, 2017


Opening week: November 9–13, with a program of performances, special screenings, conversations and round tables

Vernissage: November 9, 6–9pm

1301PE is pleased to announce Kerry Tribe’s participation in the celebrated Biennale de l’Image en Mouvement (Biennale of Moving Images) at the Centre d’Art Contemporain Genève, Switzerland. Tribe’s contribution, Exquisite Corpse, was commissioned for the 2016 CURRENT:LA Biennial and will be presented for the first time as a three-channel installation.

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FLAUNT: Colorvision – Artist Diana Thater’s Solo Exhibition at 1301PE


Diana Thater, “Colorvision,” 2016. Installtion view, 1301PE. Image by Fredrik Nilsen. 

Colorvision: Artist Diana Thater’s Solo Exhibition at 1301PE by Sid Feddema

L.A.-based artist Diana Thater’s mind-bending artwork is so effective in part because of an often overlooked aspect of her artistic process–installation. Thater deeply considers setting in her work, and utilizes space in a way that that emphasizes the architecture and the surfaces upon which she shows her pieces so that the room itself becomes a part of the art. Fortunate, then, that the 1301PE Gallery at 6150 Wilshire Blvd., within spitting distance of the LACMA (where Thater was recently honored with a comprehensive mid-career survey), offers beautiful territory for her explore in her ninth exhibition with the gallery, titled Colorvision, and currently on view until November 5th.

Thater’s highly innovative work has been transformative in the world of projection art and video installation. Since the early ’90s she has continued to expand the medium in which she works, incorporating a formal and technical element into her artmaking process. This embrace of technology may seem at first thematically incongruent with the subjects of her artwork, which often explore the conflicts between human culture and civilization and nature, but Thater insists that “visible technology, beauty and pleasure (which are one and the same) are not antithetical to one another but may exist simultaneously in the work of art and may produce the sublime.”

As 1301PE Gallery describes the series, “Colorvision consists of 8 individual monitor pieces. Each vertically-hung monitor displays the name of a color along with a bouquet of flowers in a different, complimentary, color. The colors used are those of the video spectrum: red, green, blue (primaries); cyan, magenta, yellow (secondaries); purple and orange (tertiary). The word “RED”, for example, appears with cyan flowers, while the word “CYAN” appears with red flowers. The series is based on a neurological test that is given to people to decipher the relationship between sensation and language.” Thater is interested in this conflict in how we discern visual and textual information, and she suggests that it illuminates something fundamental in how we perceive art: “It’s especially difficult for a viewer to think about color and language simultaneously and the dichotomy, when shown one color but asked to read the name of it’s opposite, forces a rupture between the two. The question is: Does reason or sensation dominate our experience of art?”

It’s been a busy year for Thater and there’s no sign she’s slowing down, with a solo show opening last week at the MCA in Chicago and more showings in the pipeline for this year. Catch Colorvision while you can though–it closes this week and it should not be missed.

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e-flux: On Snow Dancing, Phillipe Parreno



Phillipe Parreno, Snow Dancing, 1995. Installation detail.

On Snow Dancing by Ina Blom

Some twenty years ago, the effects of an expanding regime of design were starting to be felt in the field of contemporary art. Increasingly, designers seemed to use art contexts as platforms for non-pragmatic reflection and expression. Increasingly, design was also becoming a catalyst in so-called “social” art practices, artistic efforts to engineer or test drive new social and/or economic relations. In the work of collectives like Superflex or Atelier van Lieshout, for instance, design was an all-important feature of their manufacture of innovative objects or technical solutions, as well as the branding of the groups themselves. Concerned discussions about the aestheticization of anything and everything abounded: design should, apparently, know its place. But this new design ubiquity might have actually been grounded less in a political appeal to the senses over reason than on rapidly expanding processes of informatization and a growing preoccupation with their social and economic effects. A wider concept of design thus established itself: defined as “the conception and planning of the artificial,” design reflected the fact that, with computation, it was no longer the final outcome of a process, but an interdisciplinary activity embedded in all aspects of production. This was “design thinking,” a systematic approach to a plastic environment that more than ever seemed subject to human construction and control.

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Philippe Parreno & Rirkrit Tiravanija: Dreamlands at the Whitney



Whitney Museum of American Art

Dreamlands: Immersive Cinema and Art, 1905–2016

October 28, 2016 – February 5, 2017


Dreamlands: Immersive Cinema and Art, 1905–2016 focuses on the ways in which artists have dismantled and reassembled the conventions of cinema—screen, projection, darkness—to create new experiences of the moving image. The exhibition will fill the Museum’s 18,000-square-foot fifth-floor galleries, and will include a film series in the third-floor theater.

Dreamlands spans more than a century of works by American artists and filmmakers, and also includes a small number of works of German cinema and art from the 1920s with a strong relationship to, and influence on, American art and film. Featured are works in installation, drawing, 3-D environments, sculpture, performance, painting, and online space, by Trisha Baga, Ivana Bašić, Frances Bodomo, Dora Budor, Ian Cheng, Bruce Conner, Ben Coonley, Joseph Cornell, Andrea Crespo, François Curlet, Alex Da Corte, Oskar Fischinger, Liam Gillick, Dominique Gonzalez-Foerster, Pierre Huyghe, Alex Israel, Mehdi Belhaj Kacem and Pierre Joseph, Aidan Koch, Lynn Hershman Leeson, Anthony McCall, Josiah McElheny, Syd Mead, Lorna Mills, Jayson Musson, Melik Ohanian, Philippe Parreno, Jenny Perlin, Mathias Poledna, Edwin S. Porter, Oskar Schlemmer, Hito Steyerl, Rirkrit Tiravanija, Stan VanDerBeek, Artie Vierkant, and Jud Yalkut, among others.

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Diana Thater “The Sympathetic Imagination” at MCA Chicago


Diana Thater, Delphine, 1999. Installation view, Los Angeles County Museum of Art, 2015–16. 
© Diana Thater Photo: © Fredrik Nilsen

Diana Thater: The Sympathetic Imagination

Museum of Contemporary Art, Chicago

29 October 2016 – 8 January 2017

1301PE is pleased to announce the opening of Diana Thater: The Sympathetic Imagination at the Museum of Contemporary Art, Chicago. The exhibition originated at the Los Angeles County Museum of Art.

Among the most important artists to emerge during the 1990s, Los Angeles–based Diana Thater creates groundbreaking and influential works of art in film, video, and installation that challenge the normative ways in which moving images are experienced. Her dynamic, immersive installations address key issues that span the realms of film, museum exhibitions, the natural sciences, and contemporary culture through the deployment of movement, scale, and architecture.

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The Guardian: Philippe Parreno’s Turbine Hall review


A young visitor to Philippe Parreno’s Turbine Hall installation. Photograph: Guy Bell/Rex/Shutterstock

Philippe Parrenos’s Turbine Hall review- mesmerizing and unmissable by Adrian Searle

Hyundai Commission 2016: Philippe Parreno is at Tate Modern from 4 October 2016 to 2 April 2017


The length and height of Tate Modern’s Turbine Hall is alive with ripples and rivers of pulsing light. High above, the box-like viewing balconies on the side walls throb and wink as light travels from one end of the building to the other, reflected and multiplying on glass walls and casting aberrant forms on the concrete. Here comes a plane, droning invisibly through the hall’s indoor sky. And then it is gone.

Anywhen is astonishing, mesmerising, magnificent and unmissable. It is filled with constant surprise. But superlatives aren’t sufficient. Over this weekend, I spent five or six hours here during technical rehearsals and run-throughs, and still can’t say that I have seen and heard everything.

Anywhen is one of the very best Turbine Hall commissions, filling the space with sounds and furies, grand and small events, stillness and movement, noises and light and silence. Parreno likens it to a public park, where different events and a constantly changing tempo orchestrates the day. He also likens the commission to a kind of instrument that he is only now beginning to learn to play.

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Diana Thater: ART21 SHORT



SHORT: Diana Thater: “Delphine”

Artist Diana Thater discusses her interest in improving the lives of both humans and animals through art and activism. Speaking from the site of the former Los Angeles Zoo, Thater describes her activism as being focused on “anti-captivity.” As an activist she has worked with Ric O’Barry and the Dolphin Project to bring attention to the sale and slaughter of dolphins in Japan’s Taiji cove. Thater’s multi-channel video installation “Delphine” (1999) is shown in the artist’s solo exhibition, “The Sympathetic Imagination,” at Los Angeles County Museum of Art last year. In the work “you can see a dolphin spinning underwater and you can almost feel it.” Thater hopes “Delphine” generates a sympathetic response from the viewer and creates a new way to communicate between species. “My life as an artist is a different one,” says Thater. “The politics are much more subtle.”

Video here





Uta Barth and Jorge Pardo: L.A. Exuberance: New Gifts by Artists at LACMA


Uta Barth, “…and to draw a bright white line with light (Untitled 11.5),” 2011.  

L.A. Exuberance: New Gifts by Artists


BCAM, Level 3

October 30, 2016 – April 2, 2017


Since LACMA’s establishment, living artists have played an instrumental role in understanding the museum’s encyclopedic collection through a contemporary lens. L.A. Exuberance: New Gifts by Artists features a selection of works given to the museum for its 50th anniversary, as part of an unprecedented campaign led by artist Catherine Opie. Featuring over sixty gifts, the exhibition includes additions to the collection by Edgar Arceneaux, John Baldessari, Uta Barth, Larry Bell, Tacita Dean, Sam Durant, Shannon Ebner, Charles Gaines, Ken Gonzales-Day, Glenn Kaino, Friedrich Kunath, Sterling Ruby, Analia Saban, James Welling, Mario Ybarra Jr., and Brenna Youngblood.

More information





The New York Times: The Mission to Save Vanishing Internet Art


An image from Petra Cortright’s video “VVEBCAM.” Credit Petra Cortright/Foxy Production 

The Mission to Save Vanishing Internet Art by Frank Rose

In the early days of the web, art was frequently a cause and the internet was an alternate universe in which to pursue it. Two decades later, preserving this work has become a mission. As web browsers and computer operating systems stopped supporting the software tools they were built with, many works have fallen victim to digital obsolescence. Later ones have been victims of arbitrary decisions by proprietary internet platforms — as when YouTube deleted Petra Cortright’s video “VVEBCAM” on the grounds that it violated the site’s community guidelines. Even the drip paintings Jackson Pollock made with house paint have fared better than art made by manipulating electrons.

View article here





Ann Veronica Janssens: video screening at Palais de la Découverte, Paris, France


Ann Veronica Janssens, Chasseurs d’éclipses en Mongolie, 2008. Collection IAC, 

Les collections vidéos des FRAC – Projection spéciale FIAC

Organized by Institut d’art contemporain

From 19 to 22 October, 2016


Palais de la Découverte

Avenue Franklin Delano Roosevelt

75008 Paris, France


More information




Blake Rayne: Blaffer Art Museum


Blake Rayne, Untitled, 2013, acrylic & walnut shell on canvas, 24 x 18 inches

Blake Rayne: Cabin of the Accused

22 October 2016 – 18 March 2017

Blaffer Art Museum

4173 Elgin Street

Houston, TX 77004

1301PE is pleased to announce the opening of Blake Rayne: Cabin of the Accused, at Blaffer Art Museum, the first midcareer survey of the New-York-based artist. The exhibition features major works completed from 2003 to the present which showcase the breadth of his work in various media including in painting, sculpture, printmaking, and installation.

More information




Angela Bulloch & Rirkrit Tiravanija, Okayama Art Summit 2016, Japan


Rirkrit Tiravanija’s ‘Untitled 2016 (this is A, this is A, this is both A and not-A, this is neither
A nor not-A)’ 2016. Japan Times, Cameron Allan McKean.

Okayama Art Summit 2016 – Development

Okayama, Japan

October 9 – November 27, 2016

Okayama Art Summit 2016 is the first edition of a new triennial contemporary art exhibition to be held in Okayama, Japan. Thirty-one artists from all over the world have been invited to participate, including Cameron Rowland, Rirkrit Tiravanija, Rachel Rose, Angela Bulloch, Dominique Gonzalez-Foerster, Katja Novitskova, Trisha Baga, Joan Jonas, Pierre Huyghe, and Peter Fischli and David Weiss. Some of the venues designated for the summit are Okayama Castle, the Hayashibara Museum of Art, the former Fukuoka Soy Sauce Factory, the Okayama Prefectural Museum of Art, and the Korakukan Tenjin School.

“All the artists involved in the exhibition play with structures—ideological, formal and political. They do this in very specific ways. Each artist layers their work upon what they encounter. They offer various levels of distance to the given structure. And leave us with different strata for encounter, examination, and experience.” – Liam Gillick, Artistic Director

More information




Angela Bulloch, Simon Lee Gallery, Hong Kong


Angela Bulloch, installation view, Simon Lee Gallery, Hong Kong

Angela Bulloch: One way conversation…

Simon Lee Gallery, Hong Kong

14 October – 19 November 2016

One way conversation… is a continuation of Bulloch’s latest body of work presented last year in Considering Dynamics and The Forms of Chaos at the Sharjah Art Museum, UAE and L’ALMANACH 16 at the Le Consortium Dijon, France. Formed in steel and MDF, the stacked columns of polyhedra have a stylized geometry and manufactured surface sheen that alludes to minimalism and technology. Often apparent in Bulloch’s installations where technology mediates interaction with the work, is her interest in cybernetics, fundamental themes of biological, social and technological systems, and the integration of the human subject with technology.

More information




SUPERFLEX receives the Aga Khan Award for Architecture for Superkilen



Superkilen park in Copenhagen

Together with co-creators BIG and Topotek1, SUPERFLEX is awarded the prestigious Aga Khan Award for Architecture for the artistic contribution to the Copenhagen urban space Superkilen.

The Aga Khan Award for Architecture is given every three years to projects that set new standards of excellence in architecture, planning practices, historic preservation and landscape architecture. Aga Khan writes of Superkilen:

‘Superkilen, a new urban park in one of Copenhagen’s most diverse and socially challenged neighbourhoods, emphatically rejects this view with a powerful mixture of humour, history and hubris. (…) It fuses architecture, landscape and art in a truly inter-disciplinary manner, providing new opportunities for shared public engagement.’ 

Superkilen (2013) is an eight hundred metres long urban park project wedging through one of the most ethnically diverse and socially challenged neighborhoods in Denmark. It is imagined as a giant exhibition of urban best practice with furniture and everyday objects nominated from the future users. Ranging from exercise gear from Muscle Beach in LA, to a playground octopus from Japan and palm trees from China, Superkilen is a collection of global found objects that derive from 60 different nationalities representing the local inhabitants.

More information




Philippe Parreno: Tate Modern’s Turbine Hall Commission



Philippe Parreno today unveiled his new installation, Anywhen, for the Tate Modern's annual 
site-specific Turbine Hall commissions, sponsored by Hyundai. Courtesy of Tate Photography

Philippe Parreno: Anywhen

Hyundai Commission

Tate Modern, Turbine Hall

4 October 2016 – 2 April 2017

1301PE is pleased to announce the opening of Philipe Parreno’s exhibition, Anywhen, at Tate Modern’s Turbine Hall. Please visit the Tate Modern website here for more information.




LA Times: Wrapped in stretchy fabric, orchestral musicians become performance art at Green Umbrella festival


Venice artist Ana Prvacki uses fabric to translate musicians’ movements into an unusual
visual soundtrack. (Christina House / For The Times)

Wrapped in stretchy fabric, orchestral musicians become performance art at Green Umbrella festival by Catherine Womack

This Saturday, five members of the Los Angeles Philharmonic’s double bass section will convene, bare-footed, inside a giant sack of stretchy, shimmering white fabric in Walt Disney Concert Hall.

Zipped inside the opaque pocket, the musicians will set up their instruments, transforming the amorphous fabric into a makeshift tent with the help of the basses’ tall, pole-like necks. As they play, the tent will quiver and flex with each jab of a bow or poke of an arm.  

Titled “Porcupine for tent, quintet, bows and elbows,” the piece was conceived by artist Ana Prvacki and features new music by composer Veronika Krausas. Commissioned by the Los Angeles Philharmonic, “Porcupine,” will be just one of many experimental pieces being performed throughout Walt Disney Concert Hall on Saturday at “Noon to Midnight,” a one-day festival that launches the 2016-17 season of Green Umbrella, the orchestra’s contemporary music series.




Blake Rayne: Campoli Presti, Paris


Blake Rayne, installation view, courtesy of Campoli Presti, Paris

Blake Rayne: Paris

22 September – 15 October 2016

Campoli Presti, Paris




Diana Thater: ART21



ART21 Art in the 21st Century Season 8

Los Angeles episode featuring Diana Thater

Friday, September 23, 9:00pm on PBS (check local listings)

ART21 produces features focusing exclusively on contemporary visual art and artists throughout the world. The Peabody Award-winning biennial series ART21 Art in the Twenty-First Century provides unparalleled access to the most innovative artists of our time, revealing how artists engage the culture around them and how art allows viewers to see the world in new ways.

Full episodes will be available to stream online on the days following each episode’s national broadcast through ART21.org, PBS.org/art21, and PBS streaming apps.




1301PE at Paris Internationale 2016




19–23 October 2016

51, avenue d’Iéna, 75116 Paris

1301PE is pleased to participate in Paris Internationale. We are presenting works by Fiona Banner, Fionna Connor, Kirsten Everberg, Judy Ledgerwood, Jorge Méndez Blake, Ana Prvački, Blake Rayne, Diana Thater and Pae White.

Continuing the sentiment of its inaugural edition, Paris Internationale’s 2016 edition will take place at 51 Avenue d’Iéna Paris, a hôtel particulier built in 1897, most notably known as the Parisian residence and salon of prominent art collector Calouste Gulbenkian. From October 18th to the 23rd, the four story mansion, which spans over 3,000 m2, will host 60 participants including 53 galleries and 7 project spaces hailing from 19 countries. Echoing the plural identities of the participants, the building will feature a mosaic of rooms with strikingly specific characteristics. Responding to the current climate of art fairs in regards to both its production and reception, Paris Internationale is a joint initiative from 5 emerging galleries; Crèvecoeur, High Art, Antoine Levi, Sultana and Gregor Staiger, as a collective attempt to develop an appropriate model for fostering new advanced initiatives in contemporary art.

More information




Fiona Banner: Buoys Boys at De La Warr Pavilion



De La Warr Pavilion

Gallery 1

Saturday, 24 Sep 2016 – Sunday, 8 Jan 2017

Leading British artist Fiona Banner presents an immersive installation exploring her ongoing interest in language and its limitations. The exhibition, which takes place both inside and outside of the gallery, is a play on digital vs. material experiences.

Banner continues her Full Stop sculptures – a sequence of full stops from typefaces blown up to human scale, previously produced in polystyrene and bronze – reformed here as large inflatables.  They will be presented as a series of happenings around the Pavilion.  Full stops also feature in a vast window installation spanning the full length of the gallery, making illusory sculptural interventions, or Buoys, on the seascape beyond.

As part of the Root 1066 International Festival

More information




Ana Prvacki: LA Phil – Noon to Midnight



Noon to Midnight

Walt Disney Concert Hall

Saturday, October 1, 2016

The LA Phil’s 2016/17 Green Umbrella season begins Saturday, October 1, 2016 with Noon to Midnight, an opportunity for audiences to hear performances by a number of L.A.’s most exciting new music ensembles throughout the spaces of Walt Disney Concert Hall. You’ll hear 12 world premieres commissioned by the LA Phil, plus new works by National Composers Intensive participants, in a festival-like atmosphere that includes food trucks and beer.

**1301PE is pleased to announce the world premier of Tent, quintet, bows and elbows by Ana Prvacki with the original score Porcupine by Veronika Krausas (commissioned by the Los Angeles Philharmonic and Gustavo Dudamel, Music and Artistic Director). The performance will take place at noon and 5:15pm at BP Hall.

Tickets for everything between noon and 8pm cost only $15

Buy tickets here

More information





Jorge Pardo: Santa Barbara Museum of Art’s 75th Anniversary Art Auction



Jorge Pardo, Verdical, 2015, silkscreen on paper

These stellar works of art have been assembled by the Santa Barbara Museum of Art curators for a special auction in conjunction with the Museum’s 75th anniversary gala on September 18th. Auction proceeds will support a wide range of programming and ensure the success of the SBMA into the future. 

The auction is live on Paddle8 through September 19, 2016.

View the auction here




New York Times: What to See in New York Art Galleries This Week


An installation view of Jessica Stockholder’s show at Mitchell-Innes & Nash.

Jessica Stockholder ‘The Guests All Crowded Into the Dining Room’ by KEN JOHNSON

Jessica Stockholder’s colorful assemblages of diverse store-bought and found objects call to mind a term from neuroscience, “multisensory binding.” The phrase refers to the fact that the outer world appears to us seamlessly coherent, despite the many sensory signals streaming in from diverse sources — eyes, ears, nose, tongue and skin. Usually we don’t notice how the mind binds together these different inputs. In Ms. Stockholder’s engaging, if not wildly exciting, show of sculptures at Mitchell-Innes & Nash, your awareness of your attention’s shifting between the disparate parts and the whole composition is essential.

View article here




Wallpaper: Box Fresh – Walker Art Center presents a series of artworks that think inside the box


A kit of camping essentials forms Without Title (Rucksack Installation), by Rirkrit Tiravanija, 1993

Box fresh: Walker Art Center presents a series of artworks that think inside the box by Alexandra Alexa

Everything important that I have done can be put into a little suitcase,’ Marcel Duchamp declared in 1952. He was speaking of his Boîte en valise (‘Box in a Valise’), a suitcase he had assembled and reproduced between 1935 and 1941 to house the body of work he had created up to that point; a mini retrospective exhibition that could be carried anywhere. This work, and that of four other artists, is currently on view at the Walker Arts Center as part of ‘Unpacking the Box’, an exhibition that explores the artistic potential of thinking inside the box.

Pieces include George Brecht’s Valoche / A Flux Travel Aid, a box containing an assortment of quirky artisanal children’s toys, including a jump rope, a chess piece and plastic eggs, and Rirkrit Tiravanija’s Without Title (Rucksack Installation), a kit of camping essentials.

View article here





Wallpaper: Feeling gravity’s pull – Jessica Stockholder’s stacked works at Mitchell-Innes & Nash


The Guests All Crowded Into the Dining Room, installation view, 2016

Feeling gravity’s pull: Jessica Stockholder’s stacked works at Mitchell-Innes & Nash by Allison Young

Blurring the boundaries between painting, sculpture and architecture, Stockholder’s current exhibition at Mitchell-Innes & Nash emphasises process, form, and, above all, gravity. This is apparent in installations such as Sale A Way or Security Detail that feature slouched and hanging components.

However, the force is most integral to the artist’s ongoing series of Assists – sculptures that cannot stand upright without the support of a given ‘base’. Assist: Smoke and Mirrors, for instance – comprised of a web of copper wire, tarp and hardware parts – is buttressed by an upholstered chair; in a future iteration, it may instead come to lean on another sculpture or object. In the Assists, each component’s mass, orientation and weight affect the stability of adjacent elements. Such works, perhaps, reflect the possibilities of both vulnerability and mutual dependence within our personal and civic lives.

View article here




Rirkrit Tiravanija: Sexy Beast, A Benefit for Planned Parenthood Los Angeles, Art Auction Now Live


Rirkrit Tiravanija, Untitled (freedom can not be simulated, new york times, june 28, 2016), 2016

Sexy Beast, A Benefit for Planned Parenthood Los Angeles, Art Auction Now Live

Sexy Beast co chairs Mieke Marple, Davida Nemeroff, and Eliah Perona are excited to announce the Sexy Beast art auction is now live on Paddle 8.

This September 10, Hollywood entertainment and the art world will come together again for the second edition of Sexy Beast, an evening of performance and art auction benefiting Planned Parenthood Los Angeles (PPLA) at The Theatre at Ace Hotel, Downtown Los Angeles. Tickets can be purchased here.

The evening will feature an art auction led by Viveca Paulin-Ferrell with paddles designed by Math Bass, performances by WIFE and Mutant Salon, music by DJ Rashida, and a floral installation by Maurice Harris of Bloom and Plume. The Sexy Beast 2016 Award is designed by Kathleen Ryan.

Participating artists include: Theodora Allen, Harold Ancart, Darren Bader, Alex Becerra, Larry Bell, Brian Belott, Jennifer Boysen, Katherine Bradford, Brian Calvin, Nina Chanel Abney, Alex Chaves, Mira Dancy, Marcel Dzama, Laeh Glenn, Jennifer Guidi, Camille Henrot, Whitney Hubbs, Xylor Jane, Jasper Johns, Dwyer Kilcollin, Josh Kline, Barbara Kruger, Sadie Laska, Eric Mack, Robert Mapplethorpe, Orion Martin, Eddie Martinez, Julie Mehretu, Paul McCarthy, Marilyn Minter, Sam Moyer, Margaux Ogden, Alex Olson, Neil Raitt, Sterling Ruby, Ed Ruscha, Matt Sheridan Smith, Lucie Stahl, Despina Stokou, Claire Tabouret, Samantha Thomas, and Rirkrit Tiravanija.

For more information, please visit www.sexybeastforplannedparenthood.com





Blouin Artinfo: Fiona Banner’s ‘Buoys Boys’ at De La Warr Pavilion



Fiona Banner, Buoys Boys, (detail) 2016, Full Stop inflatables, From left to right: Bookman,   
Courier, De La Warr Pavilion, Bexhill-on-Sea, Courtesy: De La Warr Pavilion, U.K.

Fiona Banner’s ‘Buoys Boys’ at De La Warr Pavilion

English artist Fiona Banner’s “Buoys Boys” is scheduled to run at the De La Warr Pavilion, United Kingdom, from September 24 through January 8, 2017. The exhibition includes site-specific new work by the artist both inside and outside the gallery. The theme of the exhibition centers on the artist’s interest in conflict and language and is a play on digital versus material experiences.

The exhibition features her “Full Stop” sculptures, a sequence of full stops from typefaces blown up in proportion, consisting of large helium-filled inflatables. They will also be installed and float from the roof of the pavilion representing floating buoys. The sculptures also manifest in “Ha-ha” and will be placed as a panoramic window installation spanning the length of the gallery. Banner will also present a series of films and posters related to her experimental publishing activity. Through her artwork, Banner has approached the idea of language and conflict and how historical events are fictionalized over time.

View article here




Blouin Artinfo: Everyday Abstraction – A Q&A with Jessica Stockholder


Installation view of Jessica Stockholder: The Guests All Crowded Into the Dining Room at
Mitchell-Innes & Nash (© Jessica Stockholder; Courtesy of the artist and Mitchell-Innes & 
Nash, NY.)

Everyday Abstraction: A Q&A with Jessica Stockholder by Taylor Dafoe

Jessica Stockholder’s work is difficult to talk about because it eschews so many of the typical classifications we use to discuss contemporary art: “installation,” “site-specific,” “ephemeral.” Indeed, that’s one of the most central elements of her practice: the dissolving of boundaries.

Look no further than her immersive new show at Mitchell Innes & Nash, “The Guests All Crowded Into the Dining Room.” In it, multifaceted sculptures made from found items are installed sporadically throughout the space, calling into question what belongs with what. Discarded scallop shells rest atop blue ice cube trays. An old dance floor tile is mounted to the wall above sheets of industrial metal fencing. A sagging square of linoleum hangs from a rusty hinge. There are two new pieces from her “Assists” series — modular sculptures that can only stand upright when attached to something else: a car, a piano, or in this case, two threadbare lounge chairs the artist sourced from Craigslist. (Though, the furniture isn’t technically a part of the sculpture: “If you buy an ‘Assist’ attached to a piano, you don’t get the piano,” Stockholder says.)

Finally the show’s central work, the eponymous “The Guests All Crowded Into the Dining Room,” features a large, winding, wooden stage connected to an elevated deck gallery-goers are encouraged to walk onto.  Part sculpture, part viewing platform, part pedestal, it’s easy to love, but hard to explain why.

While the installation was wrapping up in the gallery, Stockholder sat down with Artinfo to talk about the show and some of the larger themes that run throughout all her work.

View article here




Jorge Méndez Blake: Other Literature



1301PE is pleased to announce the arrival of Other Literature (English translation) by leading Mexican artist, Jorge Méndez Blake. Other Literature highlights the importance of libraries as structures of knowledge and as architectural entities. Exploring the theme in works by Méndez Blake, the volume includes essays by renowned art critics and architects, including Sarah Demeuse, Verónica Gerber, and Luis Felipe Fabre. Published by RM, hardcover, 6.5 x 9.5 inches, 408 pages.

Copies can be purchased for $38 by contacting the gallery at 323.938.5822 or info@1301pe.com.





Jessica Stockholder: Mitchell-Innes & Nash, New York



Jessica Stockholder: The Guests All Crowded Into the Dining Room

August 25 – October 1, 2016; Opening reception: Thursday, September 15, 6-8 pm

Mitchell-Innes & Nash: 534 W 26th Street, New York NY 10001

The Guests All Crowded Into the Dining Room will feature works from several facets of Stockholder’s practice, including a large-scale site-responsive installation in addition to distinct bodies of studio works. This will be the gallery’s third solo exhibition with the artist.




Diana Thater: Untitled (Butterfly Videowall #2) in Indestructible Wonder at the San Jose Museum of Art



Diana Thater, Untitled (Butterfly Videowall #2), 2008 (detail), Five flat screen LCD monitors, 
Blu-ray player, Blu-ray disc, distribution amplifier, two fluorescent light fixtures, and Lee filters, 
Dimensions variable

Indestructible Wonder

August 18, 2016 – January 29, 2017

On view for the first time in Indestructible Wonder is the important recent acquisition Untitled (Butterfly Videowall #2) (2008), a video installation by Diana Thater. Thater filmed monarch butterflies as they rested on the ground at El Rosario Monarch Butterfly Sanctuary in Michoacán, Mexico, where millions of monarchs hibernate after their long migration from Canada. Due, in part, to the lack of foliage in which the butterflies normally take refuge, their only option was to gather together on the forest floor—an extremely vulnerable position. By placing upturned monitors on the gallery floor, Thater created a meditative experience through which to consider the lives of other creatures who share this planet. 

More information here




Contemporary Thai Cuisine by Rirkrit Tiravanija and Dalad Kambuh at Dóttir



Courtesy of Dottir

When Pop Becomes Attitude | Dóttir Berlin

July 26 – August 6 | Tuesday till Saturday, from 6pm

New York chef Dalad Kambhu and artist Rirkrit Tiravanija will take over Dóttir in Berlin and create their own version of contemporary Thai eatery. For two weeks, from the 26th July to the 6th August, the two friends and Berlin lovers will serve authentic yet contemporary Thai cuisine. Guests can expect fresh and summery ingredients and dishes, served family style as sharing dishes. They will focus on seasonal and regional products and incorporate them in traditional and newly interpreted Thai recipes. On the long list of ideas are fresh artichoke salad, green curry beef cheeks, roasted duck with Panang Curry, fish sauce ice cream and melting salmon on garden vegetables. The food will be accompanied by special wine recommendations of Dóttir’s sommelier Patrick Wentzel and Thai flavored cocktails by Pauly Bar’s mixologists Bobbi Kay and Justin Powell. 

The New York Times, The Professional Pop-Up Artist




ArchDaily: Rirkrit Tiravanija’s Water Pavilion


Photo by Panic Studio LA, courtesy of City of Los Angeles Department of Cultural Affairs
DCA). Image © [Rirkrit Tiravanija 2016]


wHY and artist Rirkrit Tiravanija Design “Waterfall Pavilion” for the LA Public Art Biennial by Patrick Lynch

Now on display as part of CURRENT: LA’s Public Art Biennial is “The Waterfall Pavilion,” designed by Los Angeles architects wHY’s Objects Workshop division in coordination with contemporary artist Rirkrit Tiravanija. The temporary installation is located at the point where water from Lake Balboa flows via a waterfall into the Los Angeles River, and consists of an open pavilion and a water purification wagon, corresponding to this year’s festival theme of ‘Water.’

View article here




Artillery: Current:LA Brings Art to The Valley in the Form of Tea




Current:LA Brings Art to The Valley in the Form of Tea by Beverly Western

“On Sunday we spent the later part of our afternoon trekking to the deep valley for tea. No, not the pinkies-up, triangle-sandwiches-type of tea. Instead we attended Tea Ceremony, a performance organized for Current:LA Water Public Art Biennial by Lauren W. Deutsch and Pacific Rim Arts. Here we would join Nakada Sokei, sensei, and practitioners from Urasenke Tankokai Los Angeles as they performed chado (“the way of tea”) using precious water from the LA River that has been filtered and purified. Yes, the idea of anyone drinking anything from the LA river, purified or not, made us cringe…until we did it ourselves.”

View article here




Kerry Tribe: Introducing Ed Rusha’s films at MOCA



Join us for a screening of the only two films ever created by iconic LA-based artist Ed Ruscha, Premium (1971, 16 mm, 24 mins.) andMiracle (1975, 16 mm, 28 mins.). 

Premium, Ruscha’s first film, starring artist Larry Bell and model Léon Bing, exemplifies the artist’s deadpan aesthetic and his investigation of the codes of Hollywood storytelling. Miracle, a story about a curious day in the life of an auto mechanic, stars artist Jim Ganzer and actress Michelle Phillips. LA-based film, video, and installation artist Kerry Tribe introduces Ruscha’s films; Tribe’s work is included in LA’s first public art biennial, CURRENT:LA Water, opening July 16, 2016. Felipe Lima will present Ed Ruscha: Buildings and Words, a new short-length documentary film about Ruscha’s extraordinary body of work written and directed by Lima. 

More information here




KCET: A Guide to Current:LA Water, the Biennial Bringing Art to 16 Locations Across the City


Kerry Tribe, “Exquisite Corpse.” | Photo: Panic Studio LA.

A Guide to Current:LA Water, the Biennial Bringing Art to 16 Locations Across the City, by Carren Jao

“This summer, Los Angeles’ riverbanks and water-related sites will blossom to life despite the drought… Across 16 locations (15 designated sites plus a “hub”) from Bee Canyon Park in Granada Hills to Point Fermin Park in Long Beach, site-specific artwork and public programming by international and Los Angeles-artists will provoke visitors to ponder the tangled web of connections water weaves in our city’s history.” 

View article here




The New York Times: Current: L.A. Brings New Art Projects to the City



‘Current: L.A.’ Brings New Art Projects to the City, by Jori Finkel

“Lacking an organization like New York’s Creative Time or Public Art Fund, Los Angeles artists have long depended on local museums and scrappy nonprofit galleries to fund of-the-moment public art. Now the city’s Department of Cultural Affairs has a new biennial to help fill the gap: “Current: L.A.,” which runs for a month starting on Saturday.

This year’s theme is water, inspired by the record-setting drought in California as well as city ambitions to transform the Los Angeles River, which for stretches resembles a concrete trench, into a more functional, accessible and even leafy refuge for city-dwellers.”

View article here




Rirkrit Tiravanija: untitled 2016 (LA water, water pavilion) at CURRENT:LA Public Art Biennial



Rirkrit Tiravanija

CURRENT:LA Public Art Biennial

untitled 2016 (LA water, water pavilion)

16 July – 14 August, 2016

Lake Balboa, 6300 Lake Balboa Hiking Trail, Los Angeles, CA 91411

It is with great pleasure that 1301PE announces Rirkrit Tiravanija’s contribution to the CURRENT:LA Public Art Biennial, ‘untitled 2016 (LA water, water pavilion)’, a temporary public artwork that consists of an open pavilion and a water purification wagon. The work was created in collaboration between the artist, Kulapat Yantrasast from wHY and the non-profit Water One World Solutions.

Located at the very site where reclaimed water from Lake Balboa flows via a gushing waterfall into the Los Angeles River, the work offers visitors a sphere of respite and recovery as well as prompts them to reconsider their relation to water. The water purification system allows for the river’s non-potable water to be reclaimed, purified and consumed by the public; the water will also be used in different performances during the opening weekend. The work can be experienced every day during the biennial from 5:30 am to 10:30 pm.





LA Weekly: A New Project Lets Viewers Explore All 51 Miles of the L.A. River in 51 Minutes


A Still of the Los Angeles River from Kerry Tribe’s ‘Exquisite Corpse’

A New Project Lets Viewers Explore All 51 Miles of the L.A. River in 51 Minutes, by Catherine Womack

“Artist Kerry Tribe has a deeply ingrained sense of civic duty. When she noticed that the garden at her children’s public elementary school was neglected, Tribe got her hands dirty and started planting. She tackled forestry issues in her Eagle Rock neighborhood by running for elected office. And when the city of Los Angeles approached her last summer to submit a project proposal for Current:LA Water, the city’s first public art biennial, Tribe developed a large-scale piece that incorporates her passion for community and ecology.”

View article here




Kerry Tribe: ‘Exquisite Corpse’ at CURRENT:LA Public Art Biennial



Kerry Tribe

CURRENT:LA Public Art Biennial

Nightly screenings of Tribe’s ‘Exquisite Corpse’

16 July – 14 August, 2016

1301PE is pleased to announce Kerry Tribe’s participation in Los Angeles’ first public art biennial, CURRENT:LA, which will take place between July 16 – August 14 exploring the theme of ‘water’. Tribe’s contribution, ‘Exquisite Corpse’, is an open-air nightly screening of a 51-minute film that traces the 51-mile Los Angeles River from its origins in the San Fernando Valley to its terminus at the Pacific Ocean.

Nightly screenings in Sunnynook River Park at 8:30 p.m. Pre-screening presentations by the Theodore Payne Foundation for Wildflowers and Native Plants every Friday at 7:00 p.m.

More information here







Organized by Vinny Dotolo

July 7 – September 2, 2016

Participating artists include: Harold Ancart – Alex Becerra – Louise Bonnet – Derek Paul Boyle – Matthew Brandt – Greg Colson – Bjorn Copeland – Cameron Crone – Awol Erizku – Kim Fisher – Samara Golden – Rives Granade – Joel Kyack – Dwyer Kilcollin – Friedrich Kunath – Shio Kusaka – Candice Lin – Nevine Mahmoud – Josh Mannis – Calvin Marcus – Max Maslansky – Joshua Nathanson – Claire Nereim – Ariana Papademetropoulos – Ana Prvacki – Sean Raspet – Charles Ray – Fay Ray – Ed Ruscha – Adam Silverman – Marisa Takal – Kenneth Tam – Paul Pascal Theriault – Charlie White – Chase Wilson – Jonas Wood – Eric Yahnker

M+B, 612 North Almont Drive, Los Angeles, California 90069




Jorge Méndez Blake: LADERA OESTE Inaugural Exhibition



LADERA OESTEis a non-profit independent exhibition space, founded by curator Geovana Ibarra and artist Jorge Méndez Blake in Guadalajara, Mexico.

Artists: Vito Acconci, Santiago Borja, Pia Camil, Alejandro Cesarco, Edgar Cobián, Fiona Connor, Claire Fontaine, Karl Holmqvist, Runo Lagomarsino, Nicolás Lamas, Fernando Palomar, Allen Ruppersberg, Valeska Soares

Opening: Saturday, July 9, 12–15 h

More information here




New York Times: Judy Ledgerwood, Pussy Poppin’ Power




Working with spontaneous panache, the Chicago artist Judy Ledgerwood paints expansive, boldly colorful grid-based abstractions. An infectious exuberance animates her new canvases in an exhilarating exhibition at Tracy Williams on the Lower East Side.

The paintings consist mainly of rows of diamond shapes that combine into optically percussive argyle patterns. Enhancing the rhythms, thick and thin dots of paint punctuate the lozenges. In “Mountain,” the show’s biggest piece at 7½ feet by 12 feet, three horizontal rows of spotted diamonds in many colors fill the viewer’s visual field with a strobing fabric of syncopating voluptuousness.

A distinctive feature is how Ms. Ledgerwood shapes her compositions. She leaves white borders around the edges of the canvases, as if the overall designs were tapestries or quilts pinned by the upper corners to white walls. They seem to droop and bow outward, creating paradoxical fusions of actuality and virtuality. Drips of paint falling over the white, lower edges of the canvases further confound the dichotomy of the real and the illusory.

This may sound complicated in theory, but on canvas it’s perfectly clear. Painting with the carefree abandon of an improvising jazz musician, Ms. Ledgerwood makes what’s hard look easy. – Ken Johnson




Hyperallergic: Sexual Abstraction: Judy Ledgerwood’s Recent Paintings



Sexual Abstraction: Judy Ledgerwood’s Recent Paintings by John Yau

If, as Amy Sillman has said, “The elephant in the room is sex,” Judy Ledgerwood’s paintings ask the viewer: What exactly do you think you are looking at? The viewer sees a shaped rectangle painted onto an immaculate white ground. A catenary seems to have been used to determine the rectangle’s top curved edge, while both sides bow in slightly, bringing to mind textiles hanging on a laundry line. A few rivulets of paint drip down from the rectangle’s uneven bottom edge. Meanwhile, the thick stretcher bars turn the painting into an object protruding from the wall, rather than a flat thing hugging it.

In a public conversation I had with the artist the day after her show, “Judy Ledgerwood: Pussy Poppin’ Power,” opened at Tracy Williams (May 7 – June 16, 2016), it was evident how clearly she had thought about all the issues – including the relationship between painting and architecture – that I’ve just described. Her paintings are what David Reed would call “bedroom paintings.” In her case, this means diamond-patterned grids in which emblems of sexual desire disrupt the comforting visual rhythms we associate with modular units and repetition.

View article here




Paul Winstanley in coonversation with Charlotte Mullins



Artist Paul Winstanley speaks to historian, writer and broadcaster Charlotte Mullins about his new body of paintings and prints that depict the interiors of British art schools in conjunction with the exhibition ‘Paul Winstanley | Art School: New Prints and Panel Paintings at Alan Cristea Gallery, 17 March – 7 May 2016.

During the summer months of 2011 and 2012 Paul Winstanley traveled throughout England, Scotland and Wales photographing unpopulated art school studios, including the iconic Mackintosh Building, Glasgow School of Art, that was later severely damaged by fire in 2014. The imagery, selected from over 200 photographs, provided the source material for this new series of work.

View video of conversation here





SUPERFLEX participates at Emscher Kunst 2016





4 June – 18 September 2016

SUPERFLEX presents the new work Waste Water Fountain at Emscher Kunst 2016, a 50km long Art Trail that stretches between the cities of Holzwickede, Dortmund, Castrop-Rauxel, Recklinghausen and Herne in Germany. With this work, SUPERFLEX erects a temporary memorial in form of a great fountain amidst the course of a river still carrying waste water on site, at the Stadthafen in Recklinghausen. The Emscher’s industrial image, an open waste water canal, reminds the artists of open intestines, our vital organ. Superflex celebrates the waste water for 100 days of Emscherkunst before it soon vanishes underground completely due to the Emscher conversion.

The Emscherkunst accompanies the development of a natural riverscape in the heart of the Ruhr area as a triennial. In a generational project, the open waste water canal Emscher is being converted to a close-to-nature river since the 1990s.The river’s’s waste water is conducted with pumps through the more than 4m high sculpture. It rises over the water surface and ground level and vehemently enters the observer’s view, equally showing uninhibited passion for breaking taboos and also delight for the absurd. The get-together of all our waste that used to be part of us, and the participation in a universal process of degradation shall also be celebrated, according to Superflex.

More information here.





Rirkrit Tiravanija: Tomorrow is the Question at the Stedelijk Museum Amsterdam




Rirkrit Tiravanija, untitled 2012 (who if not we should at least try to imagine the future, again) (remember Julius Koller). 14 mirror polished stainless steel ping pong tables, Gavin Brown Enterprise, NY. Photo: Thomas Müller

Rirkrit Tiravanija

Tomorrow is the Question

A co-production of Holland Festival and the Stedelijk Museum Amsterdam

June 4–26, 2016

Thai artist Rirkrit Tiravanija (1961) creates art that explores human social interaction. In Tomorrow is the Question, he will set up a series of stainless steel ping pong tables and invite the public to participate in his work. Tiravanija has staged exhibitions at venues throughout the world. Tomorrow is the Question (2015)—previously presented in Moscow, Arles, France, and elsewhere—marks the artist’s debut in Amsterdam. Tiravanija is seen as one of the most influential multimedia artists of his generation.

With his installation on the Museumplein, Tiravanija blurs the line between art and life. The work playfully confronts traditional ways of viewing art in classic Tiravanija style, as well as the etiquette that goes with it. As an alternative, the artist offers a more theatrical and social—and more enjoyable—experience. Tiravanija sees art as something artist and viewer create together, a process where people can be social beings, preferably outside the rarified realm of the gallery space. “It is not what you see that is important, but what takes place between people,” says Tiravanija.

The social interaction that Tiravanija pursues with this project has different historical references, from the ping pong matches organized at a gallery in Bratislava as a way of communicating by Slovakian artist Július Koller in the 1970s, to the Ping Pong Diplomacy of the United States during the Cold War period. In 1971, the US organized a ping pong tournament between American and Chinese players, under the motto “Friendship First, Competition Second.”

The work is accessible to everyone and free of charge. Ping pong paddles and balls can be borrowed from a distribution point on Museumplein.

More information here




Fiona Connor: Newspaper Reading Club in Routine Pleasures, MAK Schindler House



Opening Reception: Wednesday, May 25, 2016, 7-9 PM

Wednesday, May 25 – Sunday, August 14, 2016   

Schindler House
835 N Kings Road
West Hollywood, CA 90069

Routine Pleasures brings together artists working in a variety of media to explore “the termite tendency,” a concept introduced by artist and film critic Manny Farber (1917–2008) in his 1962 essay “White Elephant Art vs. Termite Art.” Whereas the original essay applied these labels to the work of filmmakers, exhibition organizer Michael Ned Holte finds manifold parallels in contemporary art.

In today’s overheated art world, it is easy to see a preponderance of “white elephant” art, defined by Farber as “yawning production of overripe technique shrieking with preciosity, fame, ambition.” Routine Pleasures presents practitioners who embrace a quieter, more process-oriented approach. Like termites, these artists focus closely on what is before them, and follow the work wherever it may lead, often in diffuse directions. To locate and expand upon Farber’s construct of the termite tendency, the exhibition features works by: James Benning; Jennifer Bornstein; Center for Land Use Interpretation; Harry Dodge; Manny Farber; Judy Fiskin; Magdalena Suarez Frimkess and Michael Frimkess; Galería Perdida; Sarah Lehrer-Graiwer; Simon Leung; Lucky Dragons; Roy McMakin; Carter Mull; Newspaper Reading Club; Pauline Oliveros; and Steve Roden.

More information here.





Jessica Stockholder: Colour Jam Houston



Color Jam Houston treats the intersection of Main and McKinney as a single public canvas. The stripes of color on the four corners seem to be woven together and present a kind of basket. The weaving of different stripes together into a single whole is resonant with the reality of different owners, jurisdictions and codes that govern this section of public space consisting of crosswalk, roadway, sidewalk, store fronts and Metro platform. The work also signifies the delicate social and political balance that exists between individual rights, freedoms, responsibilities and our collective well-being and coexistence.

More information here.





KCET: Current:LA, A New Public Art Biennial



A recent mayoral announcement officially launched the Department of Cultural Affairs’ new Current:LA initiative, an issues-driven public art biennial whose inaugural edition happens at non-traditional locations scattered across the city in July and August. The first edition, Current:LA Water, addresses the multivalent topic of water’s usage, history, and role in the city’s physical and social infrastructure. This includes the L.A. River, but as the organizers are quick to point out, it is about so much more than just the river. There’s water infrastructure throughout the city from the Port of L.A. (San Pedro) to the L.A. wetlands of Ballona Creek, to Hansen Dam in the north), and of course, the coast.

The DCA’s Public Art Division is using $1 million received through a grant program of the Bloomberg Philanthropies’ Public Art Challenge, plus matching funds from the city’s Arts Development Fee (ADF) program, more commonly known as the percent-for-art program that taps developers and other kinds of businesses for sustaining funds for what is usually permanent works of public art. But forget that abstract-sculpture-in-a-plaza model of public art; the Bloomberg grant specifically called for temporary public art projects and public programs at outdoor locations, and the DCA has embraced this paradigm shift with an enthusiast, open-minded can-do spirit taking full advantage of what DCA general manager Danielle Brazell calls “L.A.’s inspired moment.”  

Besides reframing the conversation on what public art can be, Current:LA is also reconfiguring assumptions about what a biennial looks like. 

Click here for full text.




Current:LA Water with Rirkrit Tiravanija and Kerry Tribe




via the LA Times:

Mayor Eric Garcetti announces artists for L.A.’s first public art biennial to be held this summer

More than a dozen artists — including L.A.-based Kori Newkirk, Edgar Arceneaux, Gala Porras-Kim and Michael Parker — have been selected to participate in Los Angeles’ first public art biennial, Mayor Eric Garcetti announced at a news conference early Tuesday afternoon.

The “Current:LA Water” exhibition will consist of temporary outdoor installations that will go up throughout the city this summer, all focused on the theme of water. 

The project was initiated by the Public Art Division at the Department of Cultural Affairs and is supported by a $1-million grant from Bloomberg Philanthropies, and other financial support.

Felicia Filer, the director of the Department of Cultural Affairs’ public art division, said in a statement that the line-up is “an exciting group of internationally recognized and emerging talents that are as culturally diverse as the inhabitants of Los Angeles.”

This includes video artist Kerry Tribe, conceptual artist Rirkrit Tiravanija, installation artist Teresa Margolles and social practice pioneer Mel Chin. Also on the list are the sound duo Lucky Dragons (Luke Fischbeck and Sarah Rara), sculptor Candice Lin, sound and performance artist Chris Kallmyer and two artist teams — Josh Callaghan and Daveed Kapoor, and Refik Anadol and Peggy Weil.

Biennial artists were selected by a curatorial committee that includes Ruth Estévez of REDCAT; Rita Gonzalez from LACMA; Karen Moss, an art historian and curator who also teaches at the Otis College of Art and Design; and Irene Tsatsos, the chief curator at the Armory Center for the Arts in Pasadena.

“Current:LA Water” will be on view throughout Los Angeles in July and August.

More info here. LA Times article here.





Fiona Connor: Canyon School up for auction to benefit Canyon Charter School



Fiona Connor, Canyon School, 2016, ink on paper, 10 x 14 inches

Click here to bid on the work.

All benefits go to the Canyon Charter School in Santa Monica. The auction concludes on April 24th at the Canyon’s Fiesta and Auction, 11am – 4pm.

More information here.





Artnet: Superflex’s Readymade Medical Equipment is Now in Use in a Gaza Hospital



Superflex’s 2014-15 exhibition “Hospital Equipment,” at the Den Frie Center for Contemporary Art. Photo: Anders Sune Berg, courtesy Superflex.

Casualties of recent fighting in the Gaza Strip may well find themselves undergoing surgery atop an operating table that is also an artwork. In what the three-man Danish collective Superflex calls a “readymade upside-down,” the artists organized for a museum exhibition of top-of-the-line medical equipment which then went to a setting defined less by well-heeled visitors than by life-threatening injuries.

As a result, Al-Shifa Hospital is the beneficiary of some $90,000 worth of goods, including the operating table and surgical lamps, with the financial support of Danish product design company Area9, which is one of three private collectors to acquire the piece. The table itself, the motorized, highly mobile Trumpf Medical MARS model, represented more than half the cost. The choice of equipment was guided by by PalMed, an organization of medical professionals who aim to provide improved care for Palestinians living in Gaza. Al-Shifa treated the largest number of victims of the most recent conflict in Gaza, says Dr. Mahmoud Ismail, head of PalMed’s Danish office, in a press release.

Working together since 1993, the artists (Bjørnstjerne Christiansen, Jakob Fenger, and Rasmus Nielsen) have created socially-engaged projects in various mediums that examine the baleful effects of capitalism via financial and banking structures, the place of fossil fuel in the global economy, and systems of free trade, among other subjects.

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Huffington Post on Ana Prvacki: A Catalogue Of Wonderfully Useless Ideas Highlights The Power Of Imagination



Artist Ana Prvacki dares to imagine how our smallest, most absurd ideas can change the world.


A great gift — one that’s significant, thoughtful, filled with meaning, big — can be, despite all good intentions, somewhat of a drag. The time, money, thought and resources that go into a diligently assembled gift can leave the recipient with a combination of appreciation and anxiety, grateful for the magnanimous offering but nervous for when, if, and how the service will be repaid.

That’s why, for me, the most generous gifts are not the large ones that come elaborately wrapped up on holidays with a big bow on top. Instead, they’re the ones that come unexpectedly and with joyful ease — a note on your pillow, a candy on your desk — gestures weightless and light as air.

Ana Prvacki’s artworks are such gestures. While most art grapples with Big issues like Death, Sex, God, History, The Color Blue — Prvacki’s preferred concepts are simple and succinct. For example, how to properly alert your friend to the small leaf of spinach caught between her incisors.

– Priscilla Frank

Click here for full text and images.





Artforum.com: Fiona Banner Critics’ Pick




An unflattering view of a power suit’s trousers greets visitors to Fiona Banner’s exhibition: aqueous gray lines diverge down a big Day-Glo orange sheet to form Pinstripe Bum Face, 2015. If the intrepid financiers who steered the 2008 banking crisis sought unregulated waters, Banner finds premonitions of our recessional present in Joseph Conrad’s Heart of Darkness (1899). The novel opens on a dusky River Thames; Orson Welles set his unrealized screen adaptation on the Hudson—both waterways opened the world’s oceans to the West’s colonizing, commercial capitals. It is not lost on Banner that these waters now conceal the gangly fiber optics that keep both cities at the mouths of more ephemeral trade.

Upstairs is a salon hang of posters and prints incorporating Conrad quotes and ISBN numbers, as if posing the shadowy Company that sends Marlow after Kurtz as a venerable publisher of art books. Among them are a graphite rubbing of a brass placard that reads Power, 2016, and Thames and Hudson Nude, 2012, a silk screen of a woman’s silhouette beside a page of Welles’s script. On a nearby plinth sits a copy of Banner’s own Heart of Darkness, 2015, a September issue–size magazine lavishly illustrated with glossy shots of London’s financial district taken by Paolo Pellegrin, a conflict photographer. In the HD video Phantom, 2015, a drone tracks a copy of Banner’s book as strong winds push it across a parking lot. Its pages—flapping to shreds—flash a colonnade, a revolving door, and a spread of waves.

For Conrad, madness follows mere corruption. For Banner, this holds true. In Mistah Bag, 2015, the phrase “Mistah Kurtz he not dead”—the artist’s revision of Conrad’s famous line—appears in gold serif on a black plastic shopping bag. The body may be buried, but the spirit still sails.

— Travis Diehl





KCRW: Hunter Drohojowska-Philp on Fiona Banner’s Heart of Darkness




Heart of Darkness, the 1899 novella by British author Joseph Conrad, is the story of the mysterious character Captain Kurtz as remembered by the captain of a steamer traveling up the Congo River. Loosely based on Conrad’s own experience as a young seaman, it is written in a deeply descriptive and symbolically-charged manner that has attracted a number of reinterpretations including a film never realized by Orson Welles and, possibly the best known version, the 1979 film Apocalypse Now.

British artist Fiona Banner has been mining this fictional territory at least since her 1999 Nam, a “wordscape” describing the violence in that and various other films about the Vietnam War. In this show, she applies the book’s metaphorical observations to business conducted in the City of London, a financial heart of darkness in this context, where the brokerages are centered. If morally abhorrent actions in the book are driven by greed, Banner’s work suggests that parallels can be found in the capitalist motives of the City.

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The Wall Street Journal: ‘Ann Veronica Janssens’ Review: Lights, Color, Action



The most civilized spot in this city of sprawl, tall buildings, shopping malls and a spider’s web of highways is one of Renzo Piano’s great buildings, the Nasher Sculpture Center in the downtown arts district. Until several years ago, at the end of its stately garden filled with masterpieces by Rodin, Picasso, Calder, De Kooning, Moore, Di Suvero, George Segal and Richard Serra, there also stood one of James Turrell’s “sky spaces,” an enclosed room in which a visitor could look up at the changing heavens. As a consequence of a continuing dispute with a neighboring condominium tower whose height eradicated the room’s sky view, the piece has been closed permanently.

Mr. Turrell is a master of light. Now, another master of light’s uses and effects, Ann Veronica Janssens (British born; Belgian based), is having her first solo American show here. Outside, to the right of the Nasher’s main entrance, “Green Aurora” is a small, projected light piece, barely noticeable. Indoors, placed diagonally on the floor, lies “IPE 700,” a single 23-foot-long steel I-beam, its top side polished and reflective. In its solid materiality, this is the most conventional of Ms. Janssen’s works here. As you look around you, materiality gives way to light and lightness. Four pieces she calls “Aquariums,” variations on a theme, of identical size (21 5/8 inches cubed) and made of glass, distilled water, paraffin oil, and ink or silkscreen, stand atop identical wooden bases. They refract the light, and they also reflect Mr. Piano’s signature grids for the Nasher roof above. Each is titled and colored differently: “Cocktail Sculpture” is pure glass; the others are called “Orange,” “Margarita,” and “Blue Wind” for their main shades. They will remind viewers of Donald Judd’s 100 milled aluminum boxes in Marfa, Texas. 

Click here for full text.








art Magazin: Ana Prvački



Aktuell überschätzt: Das Original! In L. A. verkauft die Künstlerin Ana Prvački für viel Geld die Schattenwürfe berühmter Kunstwerke – thanks to Marcel Duchamp

Dass auf unserer Gegenwart der lange Schatten der Vergangenheit ruht, ist eine häufig bemühte Metapher, die man eigentlich nicht mehr hören mag. Nur in der Kunst, wo gern alte Ideen re­cycelt werden, lässt sich so eine abgegriffene Erkenntnis noch in Gold verwandeln. Ana Prvački jedenfalls hat das mit dem Schatten wörtlich genommen und stellt in der 1301pe-Galerie in Los Angeles die Schattenwürfe berühmter Skulpturen aus: Michelangelos David, den Schreitenden von Alberto Giacometti, Constan­tin Brâncusis Endlose Säule und natürlich auch Marcel Duchamps Fahrrad­Rad. Nicht die Skulpturen selbst, wohlgemerkt, sondern nur die Silhouetten, die sie auf dem Boden oder an der Wand hinterlassen. Die 1976 im ehemaligen Jugoslawien geborene Künstlerin nennt ihre neue Werkserie Stealing Shadows und bedient sich dabei natürlich ganz bewusst einem der größten Erfolgsmodelle der Moderne: dem Prinzip des Readymade (siehe auch Seite 34) und dessen Wiedergänger Appropriation Art. Größe und Material der Schattenwürfe sind variabel – auf Wunsch können sie auf den Boden aufgemalt oder als ausgeschnittener Filzbelag erworben werden. Der Preis der »gestohlenen Schatten« ist hingegen nicht verhandelbar. Er bemisst sich am Wert des Originalwerks und soll exakt ein Prozent des Preises sein, den die jeweilige Skulptur auf einer Auktion erzielt hat, so hat es die Künstlerin verfügt. Der Schatten von Louise Bourgeois’ Bronzespinne beispielsweise ist mit 281 650 US­Dollar ausgezeichnet, weil eben dieses Werk letztes Jahr bei christie’s für das Hundertfache versteigert wurde. Stolzer Preis für den Umriss eines Kunstwerks, den man mit Taschenlampe und Photoshop auch selber herstellen könnte. Aber wer so denkt, hat eben Marcel Duchamp nicht verstanden. Nicht das Werk zählt, sondern die Idee, lautet das Mantra der Moderne. So gesehen liegt Prvačkis konzeptuelle Schattenkunst ganz weit vorn. Denn wer will sich in unsicheren Zeiten noch mit zentnerschweren Skulpturen belasten? Oder wie die Künstlerin sagt: »Auch wenn es eine sehr einfache Idee ist, ist sie doch sehr wertvoll. Dünnere Dinge zu machen sollte sogar mehr Wert haben als große Dinge.«

– Ute Thon





New York Times: Ann Veronica Janssens Casts Strong Beams at Bortolami



The work of Ann Veronica Janssens, a British artist who lives in Brussels, precipitates the heightened optical and spatial awareness similar to that of Light and Space but without the often attendant fuss that seems antithetical to the movement’s less-is-more, dematerialized aesthetic. At least as seen here, in her first solo show in the United States, Ms. Janssens’s efforts avoid the more grandiose Light and Space hallmarks, including the immaculate built-out environments, computerized light shows and viewers removing their shoes. The results are less immersive, but more thought-provoking.

At Bortolami, Ms. Janssens, who has shown in Europe since the early 1980s, presents six eye-teasing works. The most immediately arresting is a thick layer of aqua-blue glitter, spread on the floor. About the size of a kiddie pool, it is lush and dazzling and flashes shades of green and yellow as you circumnavigate it, almost as if its surface were moving.

More understated are two modest sheets of corrugated aluminum that jut out from two walls, tilting upward, a little like awnings. They seem to levitate, delicately shaded on their undersides and glowing on top, as if harboring concealed lights. Actually, the aluminum is covered with platinum leaf, and each piece is fittingly titled “Moonlight,” which is, of course, all reflected. A narrow portion of vertical blinds, titled “California,” also seems lighted from within but is simply covered with gold leaf. The show culminates in a room where seven spotlights with pink gels form a circle on one wall while a haze machine lends heft to their crossing beams, which cast a lotuslike pattern on the opposite wall. These pieces might weaken if seen separately, but together their trick-free, low-tech magic is refreshing.

– Roberta Smith





Glasstire: Top Five: Ann Veronica Janssens




1. Ann Veronica Janssens
Nasher Sculpture Center (Dallas)
January 23 – April 17

An exhibition of works by Brussels-based artist Ann Veronica Janssens. For this show, Janssens has created sculptures that play with the eye, in which viewers “encounter shifts in surface, depth, and color, challenging perception and destabilizing their sense of sight and space.”

Click here for full text and video.




Star-Telegram: Artist Ann Veronica Janssens takes us inside the rainbow



Ask your children if they would like to take a walk in a rainbow. The answer should be a unanimous yes.

You can deliver on this enticement at the Nasher Sculpture Center in a new exhibit by Belgian artist Ann Veronica Janssens.

Janssens is an artist who manipulates light, and in her piece titled Blue, Red and Yellow, a rainbow of light is encased in a large rectangular box in the Nasher’s garden. She fills the box with fog from a fog-producing machine, and as the sunlight streams into the box made of colored plastic panels, it transforms the fog into clouds of color.

Unexpectedly, though, the fog is so saturated that as soon as people enter the cube, they disappear. You can hear them; in fact, audio perception is heightened, but you cannot see them. All that can be seen are the billowing colors that change through the prismatic palette and the tiny optical floaters that are always there on your eyes but are rarely noticed.

It’s beyond weird in a wonderful way.

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The Creatorsproject: Throwing Shade—Literally—At the World’s Greatest Art



In the increasingly stock market-esque culture that the art world and market have become, the work of a select few artists that entertain billionaire patrons cast shadows upon everyone else’s creations. Serbian born, LA-based artist Ana Prvački has opted to explore this metaphor in a literal fashion in her most recent exhibition, Stealing Shadows.

Prvački’s show, which opened at LA gallery 1301PE last weekend, consists of the silhouettes and shadows of incredibly familiar works of art. Through projection and in some cases a thin sculpting process, Prvački has created “shadow-artworks” of iconic and easily recognizable pieces, including Jeff Koons’ Rabbit and Michelangelo’s David.

“I was thinking a lot about the tendency for appropriation and a kind of cleverness towards art history in the contemporary art practice,” tells Prvački. “I was intrigued at the possibility of a playful, humorous gesture of stealing shadows but at the same time with the question of value and a critique on pricing.”

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Wallpaper: Shadow play: artist Ana Prvački satirises the art market with new works in LA




The artist Ana Prvački has imagined the shadows of some of the world’s most famous (and expensive) artworks. Staged at 1301PE, Los Angeles, ‘Stealing Shadows’ is both a comment on the position of physical production in contemporary art practice and its ‘preoccupation with ephemera and mischievous urges’, and a critique of the commercial engine of culture. ‘Shadows are in the spirit of the moon, they change depending on time of day and the season – just like the art market,’ Prvački notes.

Prvački – known for her performance work on consumer aesthetics, gestures and etiquette – has been mulling over the idea since 2007. It comes to fruition following a publication that the artist released last year with the ICA Singapore, a catalogue of her ‘uncomfortable imagination’. In order for the exhibit to work in reality, all of the pieces Prvački selected had to be inscribed on the collective cultural conscience – so that they could be recognised in flat format. This process of eking out iconic contemporary works is revealing in itself, but Prvački is also asking the viewer to contemplate very directly how value is attributed to art, pricing her stolen shadow works in relation to the original. ‘Stealing shadows of famous masterpieces and selling them at one per cent of their auction price is both tactical and economical. I think it is a timely project and audiences are really ready to talk about the economy of the art market, the one per cent, the value of art and ideas.’

But can you get your hands on a stolen shadow? The artist explains that she can custom design them to fit any space, and in a variety of formats that range from digital projection, painting or graffiti, or as an animated shadow that moves through a space as an umbra, penumbra or antumbra. ‘There is something very poetic and elegant about shadows – I think the subtle yet very graphic nature of shadows appeals to our psyche. There has been great dialogue with artists, collectors, dealers, and copyright lawyers at the exhibition!’

-Charlotte Jansen




Independent: Ana Prvacki: US artist pays homage to greats by creating shadows of their work



Ana Prvacki is living in the shade of other, more famous artists. But if the price of the works she is displaying in a Los Angeles gallery are any guide, there is good money to be made in the shadows. 


The 39-year-old has taken homage to a new level by exhibiting works based on the shadows cast by a series of well-known sculptures. Visitors to the 1301PE gallery can play a game of “name that shadow” with Jeff Koons’s Rabbit, Marcel Duchamp’s Bicycle Wheel and Michelangelo’s David creating some of the most familiar outlines.


Each of the new works costs only one per cent of the original sculpture’s current market price, but it’s a formula that makes for some eye-watering prices. 

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Artforum: James Nisbet on Jack Goldstein



Jack Goldstein, Burning Window, 1977/2015, wood, Plexiglas, acrylic paint, lights, dimensions variable.

Exhibiting three of Jack Goldstein’s lesser-known works—his Burning Window installation, 1977/2015, and two sets of text-based Aphorisms (both dated 1982) painted on the gallery wall—this show distilled a tension within Goldstein’s practice between mundane observation and metaphysical introspection. Burning Window consists of a single window frame containing four panes of textured Plexiglas placed in the center of a gallery wall that has been painted bloodred. Behind this window, flickering red lights give the appearance of fire. But this faux flame produces no heat. Instead, Burning Window effects an unsettling experience with its uneasy marriage of implied trauma and camp. No spectator of this installation would reasonably assume that Burning Window was intended to simulate an actual fire. Its reality is far more ambiguous. Goldstein commented in the compilation Portfolio Performance, 2001, that “the window functions as a ‘safe’ but fragile barrier in front of which the spectator is witness to the world outside as a measureless inferno.” Burning Window evokes film but is not quite “cinematic”; suggestive of a narrative, in actuality it more acutely dramatizes the staged quality of its moving images. Per Goldstein, the spectacle “calls into question the ‘truth’ of visual experience.”

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LA Times: ‘Diana Thater: The Sympathetic Imagination’ at LACMA stuns the senses




by Sharon Mizota

Walls dissolve in Diana Thater’s beautiful, affecting retrospective at the Los Angeles County Museum of Art. For 25 years, the L.A. artist has been creating immersive video installations that appear to breach the contours of the gallery, transporting viewers into other realities: swimming with dolphins, interacting with wolves or exploring the contaminated ruins of the Chernobyl nuclear power plant.

Throughout, Thater has exploited the technology and conventions of video to examine the nature of perception and to probe the fraught line between human and animal.

With just 22 works, “Diana Thater: The Sympathetic Imagination” is tightly focused, somewhat austere but nevertheless stunning. Curators Lynne Cooke of the National Gallery of Art in Washington, D.C., and Christine Y. Kim of LACMA have selected major pieces and given them ample space to play. They forgo wall labels, and some of the room-filling installations overlap a bit, suffusing the space in lovely fields of colored light. (An indispensable gallery guide includes maps, titles and a brief artist statement for each work.) The exhibition is split among three buildings on the LACMA campus, but even this potential disconnect provides welcome breathers from what might otherwise become retinal overload.

Click here for full text.





KCRW: Edward Goldman on Kirsten Everberg





“The exhibition of paintings of LA-based artist, Kirsten Everberg, at 1301 PE Gallery will slow you down and put you in a quiet, meditative mood. Everberg traveled to Sweden to the remote island of Faro, where famous film director, Ingmar Bergman, lived for most of his life. Inspired by the architecture and interior of his house, she created a series of oil and enamel paintings, abstract and representational at the same time. The pale light of Nordic White Nights fills the rooms. Everything looks realistic, but strangely mysterious. Stepping close to the paintings, one discovers the elaborate texture of individual brushstrokes, as if enamel and oil are still wet and continue to slowly drip down the canvas”

“One large painting offers a glimpse of Bergman’s library, with hundreds of books cramming the shelves. Each book is created by a single brushstroke” at least that is the impression one gets. And this multitude of books and exquisite brushstrokes makes one dream about Bergman’s Wild Strawberries, The Seventh Seal, Cries and Whispers, and Fanny and Alexander”






Ana Prvacki: Thirty Shades Of White at Praz Delavallade Paris



Thirty Shades Of White

28 November 2015 – 23 January 2016

Artists: Pierre Ardouvin, Robert Barry, Lisa Beck, Oliver Beer, Florian Bézu, Ulla von Brandenburg, Matthew Chambers, Martin Creed, Trisha Donnelly, Thomas Fougeirol, Fernanda Gomes, Julian Hoeber, Shila Khatami, Jiri Kovanda, Rodrigo Matheus, Fabien Mérelle, Julien Nédélec, Camila Oliveira Fairclough, Laurent Pernot, Ana Prvacki, Joe Reihsen, Ry Rocklen, Analia Saban, Yann Sérandour, Florian Schmidt, Sergio Verastegui, Marnie Weber, Lawrence Weiner, Zoe Williams, John Wood & Paul Harrison

F-75003 PARIS

More info here.





Rirkrit Tiravanija: A Restaurant Where Art is on the Menu in the New York Times




A Restaurant Where Art is on the Menu


In 1992, the art dealer Gavin Brown helped the artist Rirkrit Tiravanija transform 303 Gallery, then on Greene Street, into an operational kitchen for a part performance, part installation piece titled “Untitled (Free).” The seminal solo show, which found the artist serving up gratis curry and rice out of the converted gallery, represented a critical development in Tiravanija’s practice. It also marked the beginning of his friendship with Brown, who at the time worked as an assistant at the gallery. Now in the collection of MoMA, “Untitled (Free)” — considered a masterwork of relational aesthetics — was the first of many interactive projects realized by the twosome. Their latest scheme: a gallery-meets-kitchen in Hancock, N.Y. Lovingly referred to as Unclebrother (the name is an inside joke), the hybrid restaurant revives the generous spirit of Tiravanija and Brown’s inaugural partnership, but adds in a full-time, brick-and-mortar locale. “It’s the first time he’s had a commercial kitchen, so it’s a departure in that sense,” Brown says. “It’s a natural progression, in a way. It’s about entering into the same place but from a different direction.” 

Read more here.




Diana Thater in The Wall Street Journal



Film and Video Artist Diana Thater’s First Retrospective at LACMA

Known for projects that explore nature and the cosmos, Diana Thater is the focus of Los Angeles County Museum of Art’s largest exhibition focused on a female artist

By Carol Kino

IT’S A SMOGGY DAY in Los Angeles, and the artist Diana Thater is walking up the steep, winding path toward the Griffith Observatory, one of the city’s most recognizable landmarks. Passing a gauntlet of tourists snapping photos with selfie sticks, Thater, 53, says she realizes the destination seems cliché. But as a self-avowed movie buff who creates film and video installations, Thater is also clearly reveling in the moment, pointing out the James Dean statue, the best place to get a shot of the Hollywood sign and the precise location on the observatory steps where Sal Mineo’s character bit the dust in Rebel Without a Cause. “When I was a child I was obsessed with movies,” says Thater. “I must have seen thousands.” (Perhaps that’s the inspiration for her severe bob, which is reminiscent of the hairstyle of silent film star Theda Bara.)

Click here for full text.





Diana Thater: gorillagorillagorilla at Aspen Art Museum



Diana Thater



Nov 6, 2015-Feb 21, 2016

Aspen Art Museum

637 East Hyman Avenue

Aspen, Colorado 81611


More information here.




Uta Barth and Ann Veronica Janssens: Another Minimalism at The Fruitmarket Gallery Edinburgh



Another Minimalism

Art After California Light and Space

Exhibition 14 November 2015 – 21 February 2016

Curated by Melissa E. Feldman

Uta Barth (Germany), Larry Bell (US), Carol Bove (Switzerland), Sarah Braman (US), Tacita Dean (UK), Olafur Eliasson (Denmark), Sam Falls (US), Jeppe Hein (Denmark), Robert Irwin (US), Ann Veronica Janssens (UK), Spencer Finch (US), James Welling (US)

Opening Events Friday 13 November:

Curator’s Talk Melissa E. Feldman 5–6pm
Exhibition Preview 6–8pm

The Fruitmarket Gallery

45 Market Street

Edinburgh EH1 1DF

More information here.




Ann Veronica Janssens at S.M.A.K. in Gent





Pae White: Command-Shift-4 at Henry Art Gallery Seattle



Pae White


24 October 2015 — 24 January 2016

Fall Open House:

Thursday 29 October 2015, 7.30 – 10 pm

Henry Art Gallery

University of Washington

15th Ave. NE & NE 41st St.

Seattle, WA 98105





Philippe Parreno on the cover of ArtReview



Following his exhibition at the Armory in New York and in advance of a major show at Milan’s Hangar Bicocca later this month, the French artist talks about the the process of exhibition-making. Interview by Tom Eccles

More information here.





Ann Veronica Janssens: States of Mind at Wellcome Collection



Ann Veronica Janssens

States of Mind


15 October 2015 – 3 January 2016


This new installation by Ann Veronica Janssens explores light and colour as she invades the gallery with coloured mist. Colour is caught in a state of suspension, obscuring any detail of surface or depth. Instead, attention is focussed on the process of perception itself. Janssens’s work is both disorienting and uplifting as the daily wonder of conscious experience is given renewed emphasis.

Wellcome Collection

183 Euston Road

London NW1 2BE






Blouin Artinfo: 25 Most Collectible Midcareer Artists: Diana Thater



An installation view of Diana Thater’s “Science, Fiction” exhibit at David Zwirner, New York.

Since the 1990s, Thater, a pioneer of video art, has been producing video installations that focus on the mechanical aspects of media and the dynamics among humans, animals, and ecosystems across the globe.

“This is a very important moment to reevaluate her impact and her influence and importance in the history of video art and contemporary art in general. People are recognizing how influential she’s been,” says Justine Durrett, director of sales at David Zwirner in New York, the artist’s New York representative since 1993.

The global subject matter of Thater’s work resonates with an international collector base and “reaches an audience that goes beyond collectors who are purely interested in video art,” says Durrett.

It’s uncommon for Thater’s work to reach the auction market; only three pieces have sold at auction since 2002. Nine Red Sun, 2000, sold at Lawson Menzies in Kensington, Australia, for $18,000 (est. $21–26,000) in 2002; Perpetual Motion Two, 2005, sold at Christie’s South Kensington in September 2010 for an artist record of $77,000 (est. $31–45,000); and in March 2012, Composite Sun Video Wall, 2000, achieved $22,500 (est. $30–40,000) at Christie’s New York. David Zwirner’s most recent exhibition of the artist’s work, “Diana Thater: Science, Fiction,” which was on view from January 8 to February 21, 2015, offered works that ranged in price from $150,000 to $300,000. The artist’s Starry Messenger, 2014, a nine-monitor video wall depicting the Milky Way, sold for $150,000.

The San Francisco native, who studied art history at New York University and received an mfa from the Art Center College of Design in Pasadena, is currently participating in the 56th Venice Biennale, where her “Vita Vitale” is part of a group show in the Azerbaijan Pavilion until November 22. “Diana Thater: The Sympathetic Imagination,” a retrospective, will be on view at the Los Angeles County Museum of Art November 22 through February 21, 2016.

– Liza Muhlfeld





Blouin Artinfo: Jessica Stockholder Takes Chicago




Jessica Stockholder apparently hasn’t had a solo outing in Chicago in over two decades, but she’s certainly making up for lost time. The artist — known for bright assemblages of consumer goods and other materials — is now a professor and chair of the visual arts department at the University of Chicago. She opened “Door Hinges,” an exhibition at Kavi Gupta Gallery, two weeks ago, and she curated a companion show, “Assisted,” in the same space; a large new piece dangles from the ceiling of upscale, art-crowd-friendly Chicago restaurant mk; a site-specific piece is also now on view at the Smart Museum of Art.




At Kavi Gupta, pictured above and below, the artist goes big, conscripting a freezer unit, an enormous and clunky desk, and a Smart car into her installations. Another piece sprawls through the entrance foyer, combining energetic wall-painting with driveway safety-mirrors and other found objects; it continues on the second floor of the gallery, as well as on the space’s exterior. Stockholder’s facility with throwaway plastic consumer detritus — generating a buzz through the artful repurposing of toys, furniture, junk, and raw color — make her a kindred spirit to someone like Iza Genzken.

— Scott Indrisek




Rirkrit Tiravanija: untitled 2015 (tomorrow is on our tongue, as today pass from our lips) at CCBB Centro Cultural Banco do Brasil, Brasilia



Kreëmart + Rirkrit Tiravanija presents

untitled 2015 ( tomorrow is on our tongue, as today pass from our lips )


CCBB Centro Cultural Banco do Brasil – Brasilia

CRU 2015

Kreëmart and Rirkrit Tiravanija have a social understanding of this project. The glass structure, (the laboratory) within the glass house can be understood as a microcosm of itself, or better, of the city we will be using as our platform, Brasilia. The ceiling reiterates the ideas of containment.

Within the laboratory, we will be creating different interpretations (tastes) of a wafer that can be used in the same way as holy bread (Ostia). It would is important to use the same base for the wafer as so the only variable that changes is the taste.The tastes are based on the concepts: Everest, Pacific, Sahara, Antarctica, Amazon and Iguaçu Falls

The idea behind having the wafer is that it is a very genetic form. The association with the wafer is that of being bland, tasteless. Here, we will give the public a sensorial surprise, an explosion of flavor of different tastes given our separate wafer creations.

Within the lab, there is a table hosting the wafer structure. The laboratory workers will pull one by one out with a tweezer to give the wafer to the public through the glass hole.

We are staging a situation and the public will have a personal experience of it.

The person in the public will have no choice of the taste of their wafer, they will eat that of which is served to them. As to reiterate the idea of giving false autonomy to the public, the public will line up in four different divisions of the space with tubes that connect into the laboratory.

This ties back to a political and social context of having choice between candidates but not really having power or autonomy of ultimate choice. Here the political connotation also ties to the containment within the structure. The public may try to perceive and will have their own ideas of what is happening within the laboratory but this is something that will never be divulged. The glass house is a metaphor for the personas created by a political party, whatever that may be.

There can be a further investigation of concept of what happens within the laboratory. As there is a glass separation of the public and the laboratory, it may be understood as that unreachable, untouchable understanding of production and consumption.

Whether the reaction is pleasure, disgust, confusion – this will be provoked by taste and will arise curiosity. No two people will have the same experience of taste and that exploration and documentation is pertinent.




Fiona Connor: Newspaper Reading Club at The Physics Room








Ana Prvacki at Contour 7





The Family Fig Tree (for the Utopians it’s important to see their future spouse naked before marrying them)

video, sound, fig tree, 2′ 34″

Commissioned and produced by CONTOUR 7

Fig leaves have played a significant role in the history of art, covering male and female sexual organs to neutralise the erotic charge of images. Prvački’s art explores ways of re-charging the erotic dimension in art, while addressing forms of social intercourse and protocol. In her piece for CONTOUR 7, she ironically plays with a social rule on the island of Utopia and subverts it, while paying respect to the artistic tradition of using fig leaves by placing a fig tree in front of her video. The work finds its point of synthesis in its audio component, which invites the listener into a subliminal trip back in time, covering one generation after another on a family tree and perhaps inviting us to contemplate a primordial scene in the Garden of Eden.






Ana Prvacki at Istanbul Biennial



The 14th Istanbul Biennial

SALTWATER: A Theory of Thought Forms

5 September – 1 November 2015






Charline von Heyl at Galerie Gisela Capitain Cologne



Charline von Heyl

September 5 – October 24, 2015


Galerie Gisela Capitain

St. Apern Straße 26

D – 50667 Cologne





Fiona Banner: Heart of Darkness



Heart of Darkness

By Joseph Conrad

A work by Fiona Banner

Photographs by Paolo Pellegrin

Designer: John Morgan

Four Corners Familiars number 12

In 2012, Fiona Banner was invited to select an exhibition of works drawn from the Archive of Modern Conflict, a London-based collection of photographs and ephemera relating to war and conflict. After much time delving into the archive, Banner observed a lack of images relating to conflict in the here and now. In a reversal of roles, Banner commissioned Paolo Pellegrin, a conflict photographer who has worked extensively in the Congo, to observe the City of London – its streets and trading floors, its costume and strip-clubs – through Conrad’s Heart of Darkness. The resulting photographs were first exhibited at Peer, London under the title Mistah Kurtz – He Not Dead.

A selection of these images now form part of the Archive, they can be found filed under ‘Heart of Darkness, 2014’. They also form the illustrations for this new publication of Conrad’s novella, which takes the form of a luxury magazine.

Heart of Darkness (first published in 1899) is a story of trade and corruption, and of our own conflicts and desires. From a boat moored on the banks of the Thames, Marlow narrates his story in which he travels to the heart of the Congo in search of renegade ivory trader Kurtz, who has mesmerised and enslaved his workers. 

Like many artists of her generation Banner has lived just outside the boundaries of London’s financial district since the early 90s observed the area’s close proximity to the Square Mile and its apparent separation from it. This publication links with Banner’s first artist book The Nam (1997) that references Apocalypse Now, a film that uses Conrad’s text as its narrative template.





Jan Albers: hallOfzinOgen at Van Horn Duesseldorf



Jan Albers


5 September – 23 October 2015
Opening Friday 4 September, 6-10 pm






Jessica Stockholder: Rose’s Inclination at Smart Museum of Art Chicago



Jessica Stockholder: Rose’s Inclination


September 12, 2015 – July 2, 2017


In a site-specific Threshold series installation, Jessica Stockholder intersects the Smart’s lobby with a wave of color and texture that climbs to the clerestory, cuts across the floor, and travels outwards into the Museum’s sculpture garden and beyond. Rose’s Inclination makes use of ordinary materials—lamps, paint, Plexiglas, carpet, and garden mulch—to “reach up and out,” altering the physical experience of the Smart Museum’s modernist architecture and landscaped courtyard. The work also repurposes a small section of the previous Threshold commission, a wall painting by Judy Ledgerwood, by agreement of both artists.


Stockholder is Raymond W. and Martha Hilpert Gruner Distinguished Service Professor and Chair of the Department of Visual Art, The University of Chicago. Art21 deemed her “a pioneer of multimedia genre-bending installations that have become a prominent language in contemporary art.” Rose’s Inclination is her second public installation in Chicago since she arrived in 2011—the first being Color Jam (2012), which took over a busy intersection in the Loop and was one of the largest public art installations in the city’s history. 

Smart Museum of Art
University of Chicago
5550 S. Greenwood Avenue
Chicago, IL 60637




Jorge Mendez Blake: Nao de China





Nao de China

Jorge Méndez Blake

This book is a close collaboration between artist Jorge Méndez Blake (Guadalajara, 1974) and Rodrigo Ortiz Monasterio (Mexico City, 1985) in our mutual interest on unfinished novels, libraries and the connections that can be made between literature and architecture. Nao de China (China Boat) takes as a departure point Jose Juan Tablada’s (Mexico City, 1871-1945) writings, seeking the missing connections in order to produce a series of encounters and perspectives into Tablada’s literature. By unraveling Tablada’s oeuvre, imagining his lost or unfinished works, this book attempts to give contemporary interpretations of some of the seminar themes in his work: Orientalism, the relation between literature and visual arts, and the creation of national identity through art and architecture.

How to interpret Jose Juan Tablada’s work? Can we analyze Tablada’s work separately? Do we attempt to read through the scope of his multifaceted persona, via his poetry, drawings, incomplete novel(s), as a librarian, art-critic, and amateur biologist…? This publication focuses on Tablada’s two books of haikus; the destroyed manuscript of his novel Nao de China and his only published novel La resurreccion de los ídolos (1924).




Fiona Banner: Font at Frith Street Gallery London




Fiona Banner: Font

18 September – 31 October 2015

Private View: Thursday 17 September 6-8pm



Golden Square

17-18 Golden Square, London W1F 9JJ

Gallery Hours: Tuesday – Friday 10am-6pm; Saturday 11am-5pm, and by appointment




Jorge Mendez Blake at MUAC Artforum critics’ pick




Jorge Méndez Blake, Topographer (Marking a Series of Points from the National Library to the University Museum of Contemporary Art), 2015, HD video, black-and-white, sound, 13 minutes 14 seconds.

Jorge Méndez Blake

Insurgentes Sur 3000, Centro Cultural Universitario, Delegación Coyoacán

May 23–September 20

Jorge Méndez Blake’s work has always incorporated architecture, books, and archive fever as a haunting exquisite corpse. Perhaps this is best distilled in his recent exhibition, “Topographical Transferrals from the National Library,” in Mexico City. Here the artist plays with the physical act of translation, which, as in his video The Topographer (Marking a Series of Points from the National Library to the University Museum of Contemporary Art), 2015, can be quite a painful and arduous process: In the piece, Méndez Blake attempts to move straight through the brush between the National Library and this museum. Also addressed is the act of translating works by memory: The artist invites us to choose a couple of verses from poetry books at the aforementioned library, memorize them, then retype them inside the museum. Finally there is the act of transmitting ideas from one medium to another, most successfully enacted in The Great Poem of Twentieth Century (Mexico), 2015, where he converts each millimeter of each letter from the titles of twentieth-century Mexican poems available at the library into a sculptural installation of thin aluminum poles.

The exhibition circulates among institutions—invasion or hospitable permeability?—and thereby changes our way of perceiving each space as well. A smart and playful nudge at establishments that often seem like dead repositories—for instance, usually one cannot borrow books from the National Library—the exhibition might first appear a little dry, with a few typewritten verses here, a black-and-white video there, a thick book, and an architectural model of the library, but in the end Méndez Blake reveals that translation, like art, is a relationship that is sometimes difficult but very much alive.

— Gabriela Jauregui




SUPERFLEX in New York Magazine: The Urbanist’s Copenhagen: What to Do



“… In a Trippy Park

Superkilen (Nørrebroparken)

Divided into three sections — the Red Square, the Black Market, and the Green Park — the highly conceptual tract designed by Copenhagen art crew Superflex features a hilly cycling track painted with swerving stripes and an octopus-shaped playground slide modeled after one in a Tokyo suburb.

Fill your basket: “Det Eksotiske Hjørne, which translates to ‘the Exotic Corner’ (Jagtvej 127), is a short walk and really stands out among Copenhagen’s countless sandwich and salad places. Get the hummus and some tzatziki to go.”






Fiona Connor: A Man of Average Means at Human Resources Los Angeles



A Man of Average Means

Opening Reception: August 2nd 4-7pm with a performance by Dawn Kasper at 5:30PM

In 1978, frustrated by his country’s inability to produce quality films, North Korean Supreme Leader Kim Jong Il embarked on a plan to appropriate proven foreign resources.  With this intent he carried out the well-documented abduction of South Korean filmmaker Shin Sang Ok and his ex-wife, the actress Choi Eun Hee, independently of each other during visits to Hong Kong.

Approximately two years after the abductions, Kim held a celebratory banquet in which the two captives were presented as guests of honor.  Only then, upon seeing each other, did they become aware of their parallel circumstances.  This reunion, coupled with a rather heartfelt admission by Kim himself, revealed the true significance of his fantastic and aggressive gesture – the desire to find a poetic moment from within the perfectly constructed ideology he embodied.

Shin and Choi produced thirteen films in the following six years of their strange circumstance (during which they were remarried), until they escaped while attending a Viennese film festival. They would eventually migrate to Los Angeles, where Shin worked under the pseudonym, Simon Sheen.

A Man of Average Means is an exhibition featuring works by:

Peggy Ahwesh, Keren Benbenisty, Jakob Brugge, Fiona Connor, Dawn Kasper, Dawn Kinstel, Lucas Knipscher, Charles Mayton, Viola Yesiltac, Yoni Zonszein

Organized by Eric Kim and Thomas Torres Cordova

Gallery Hours: Wed-Sun, noon-6PM

Human Resources
410 Cottage Home St
Los Angeles CA, 90012




KCRW: Diana Thater’s Science, Fiction


Diana Thater, “Still from Visual Voyage: Milky Way to the Virgo Cluster,” 2015

Diana Thater’s Science, Fiction

Hunter Drohojowska-Philp admires the artist’s videos at the San Jose Museum of Art.





Artnet: At Lisa Cooley, Fiona Connor Makes a Fountain that Moves on From Duchamp




At Lisa Cooley, Fiona Connor Makes a Fountain that Moves on From Duchamp

Blake Gopnik, Tuesday, July 7, 2015

THE DAILY PIC (#1346): I’m not sure if she meant it this way – surely she must have? – but Fiona Connor’s On What Remains, Part One, installed in the rear space of Lisa Cooley gallery in New York, reads as the latest smart reworking of Duchamp’s original Fountain.

Whereas the Master’s 1917 urinal took a deluxe bathroom fixture (it wasn’t the abject object people have claimed) and turned it into non-functioning, un-plumbed art, Connor started with a much distressed water fountain from nearby Tompkins Square Park and then reproduced it, complete with plumbing, in a gallery setting. Despite its humble look, Connor’s piece isn’t a readymade: she didn’t grab an object in the real world and simply present it, by fiat, as art. Her laborious reproduction is closer to a high-realist representation or even trompe-l’oeil; she’s called it “a one-to-one drawing.” Which means it’s less about art and its games than about the original object that it is taking such pains to reveal to us.

Connor’s press release explains that the park’s concrete fountain was designed way back in 1939 – its bold lines are Art Deco, not Brutalist, conceived among the Lefty ideals of the New Deal. Ever since, it’s been generously offering water to the changing denizens of the Lower East Side, from Jewish immigrants to Latinos, from protesters to druggies and muggers to, now, the baby-and-iPad set – the very people who stroll among the new galleries of the yupified neighborhood.

Connor has condensed all that history and meaning into a single object. The object dishes it out again, sip by sip.




Fiona Connor ‘A Letter to an Unwritten Future”







Brian Butler Interview with Yale Radio



Brian Butler

Hosted by Brainard Carey





LA Times: LAX unveils public art by Ball-Nogues, Mark Bradford and Pae White



A view of artist Pae White’s installation “ΣLAX,” recently unveiled at the international terminal at Los Angeles International Airport. (PanicStudio L.A.)

LAX unveils public art by Ball-Nogues, Mark Bradford and Pae White

The Tom Bradley International Terminal at LAX debuted this week three new public art commissions designed to greet departing and arriving passengers and provide a measure of calm and reflection amid the chaos of air travel.

The artists involved all have strong ties to Los Angeles — Mark Bradford, Pae White and the Ball-Nogues studio each resides or works in the L.A. area. Funds for the commissions came from the airport, with each installation budgeted at $1 million, according to Sarah Cifarelli, the art manager at LAX.

She said the airport participates in the city’s “1% for arts” program, under which developers pay an amount equal to 1% of the construction value, with the money going to public art. The recently unveiled installations are on view on a permanent basis, she said.

Click here for full text.





Jan Albers: cOlOny cOlOr at Kunstpalais Erlangen




Jan Albers: cOlOny cOlOr

Opening: July 10, 2015

Exhibition: July 11, 2015 – September 06, 2015


Marktplatz 1

91054 Erlangen





Jorge Pardo in SUMMER SHOW at Petzel New York



Summer Show

Jorge Pardo, Jon Pylypchuk, Dirk Skreber

July 2 – August 7, 2015

Opening Reception: Thursday, July 2nd, 6-8pm

Petzel Gallery

456 W 18th Street

New York, New York 10011




Ana Prvački Review in Flaunt Magazine



Obscene, Lewd, Promiscuous, Shameless, Abandoned, Libertine, Libidinous, Licentious, X-Rated, Amorous, Bawdy, Carnal, Raw, Rousing, Earthy, Erogenous, Fervid, Filthy, Fleshly, Hot, Kinky, Lascivious, Lecherous, Raunchy, Salacious, Spicy, Stimulating, Titillating, Voluptuous, and Nice.

Ana Prvački’s “Tent, Quartet, Bows and Elbows,” opens on a string quartet performing energetically inside a small tent. As the four players inside the silken edifice perform, their flailing limbs are seen in outline, and the spectacle out of context—one that would be somber in any other circumstance—is laughable and evocative of kids fooling around at summer camp.

Prvački—a performance artist who was born in Serbia, and educated in Singapore and New York—has thought a lot about the intersection between the erotic and the humorous; her new solo show Porn Scores, at 1301PE Gallery, has a clear message, one that is too easily forgotten: art is fun, music is sexy, sex is funny. The show is primarily populated with sheets of classical scores interspersed with delicate illustrations of male and female reproductive organs.

On the subject of eroticism and humor, Prvački says, “For me, eroticism is very much connected to humor. It is a new kind of eroticism, something between sexy and slapstick.”

Regarding the show’s relationship with music: “Studies of music rooms in 17th and 18th century France and Italy show that young girls and women were encouraged to play an instrument but not too well, it was understood that a daily and in depth experience of music would be too carnal for proper young women.”

When Prvački is asked what she thinks about summer camp, she (characteristically) after a good laugh responds, “I think both of my interests in camping and sexuality go well there.” Later, over email, she adds, “Thinking about your question from the other day, I think summer is all about the bees!”

It’s either a good or a very bad time to be an artist working in the explicit, depending on how you feel about infamy. June 7th marked the unveiling of Anish Kapoor’s evocative sculptures at Versailles. One piece in particular raised public ire: “Dirty Corner,” Kapoor, in an interview with Le JDD, called the installation, “A mysterious sculpture of rusted steel 10 meters high, weighing thousands of tons, stones and blocks all around. Again sexual [in] nature: [it represents] the vagina of the Queen who took power.”

Prvački’s use of the anatomical puts her in the same class as a few other artists, most of whom have not been well received—Japanese artist Megumi Igarashi was indicted twice last year for her provocative kayaks made from a 3-D printed mold of her vagina—but to Prvački the use of the actual genitalia is very important. When discussing this, she brought up the Met Gala this year, in which it was noted that numerous attendees were wearing “naked dresses” that exposed almost everything except for the pudenda. “I thought, ‘what a strange thing, culturally. What does that mean? Does this mean that people are so afraid of the imagination, that they would rather go naked?’ I don’t know. I think we definitely need some cultural acupuncture. So, I’m hoping that the show does that in a way.”

Prvački’s work often deals with humanity and our customs. Her exhibition for dOCUMENTA Kassel in 2012, called Greeting Committee, consisted of three parts: a conversation and training on etiquette with D13 staff, a series of six PSAs shown in service areas and a key note lecture by Professor Kwame Anthony Appiah. When I asked if this came from her own personal experiences of living in so many different cultures (Communist Yugoslavia, Singapore, London, New York, Paris, Los Angeles) she says, “Part of my project was focused on the faux pas, on how the potential going wrong becomes an opportunity to connect with people through humor. Again, humor being that incredible opener.”

At the end of “Tent, Quartet, Bows and Elbows,” Prvački, a petite woman in a long, black dress walks into frame and unzips the tent, the performers pile out like clowns from a proverbial car, and she carefully zips it up again; just as the warm spring night folds around us foreshadowing the long hot summer to come.

Written by Amy Marie Slocum 




Fiona Connor ‘On What Remains, Part One’ at Lisa Cooley New York



Fiona Connor

On What Remains, Part One

Lisa Cooley, New York

June 26 – August 21, 2015

Lisa Cooley is pleased to present On What Remains, Part One, the first of a two part solo exhibition with the gallery by Fiona Connor. This is the artist’s first solo exhibition in New York, following her Newspaper Reading Club, New York Poster Project presented in collaboration with Michala Paludan as an offsite project with Lisa Cooley in October 2014.

Click here for full text.




Rirkrit Tiravanija Interview Blouin Art Info




Rirkrit Tiravanija on His Hospitable Art Basel Intervention

For the duration of the 2015 edition of Art Basel in Basel, renowned conceptual artist Rirkrit Tiravanija will present a project titled “DO WE DREAM UNDER THE SAME SKY” in collaboration with German architects Nikolaus Hirsch/Michel Müller and Finnish chef Antto Melasniemi.

Located at the entrance to the fair, “DO WE DREAM UNDER THE SAME SKY” comprises a herbal garden, kitchen, and a communal dining and meeting area, with the main modular bamboo and steel structure designed by Nikolaus Hirsch and Michel Müller.

The project is an invitation to enter a sphere of hospitality, recovery, and community amidst the excitement of the art fair where visitors can engage in activities such as the drinking of herbal tea plucked fresh from the onsite garden, as well as the cooking and eating of food.

The food is rooted in Thai tradition and will be available with no fixed schedule, menu or price list, and with compensation determined by the visitors, by either serving oneself, serving others, donations, or helping with food preparation or cleaning up.

Developed and executed in collaboration with Finnish chef Antto Melasniemi, the program will explore an ecological cycle beginning with the growing of herbs and continuing on to their use in the production of tea and culinary creations.

“DO WE DREAM UNDER THE SAME SKY” is an extension Tiravanijas’s and Thai artist Kamin Lertchaiprasert’s project “the land,” a land foundation in Chiang Mai initiated as a self-sustaining environment emerging from the artistic community.

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Philippe Parreno artsy.net Review




Portrait by Andrea Rossetti

Making Sense of Philippe Parreno in His Multifaceted Park Avenue Armory Exhibition

“The show is pretty optimistic,” Philippe Parreno says, sitting in the dimly lit hallway of the Park Avenue Armory, where his first major U.S. exhibition “H {N)Y P N(Y} OSIS” opened last week, occupying the building’s 55,000-square-foot Wade Thompson Drill Hall. “[My show at] Palais de Tokyo was a bit more dark. But maybe that’s because I’m finishing dealing with cancer, so there’s a bit of light coming back.” Parreno laughs but there is an undertone of relief in the remark, one that carries through the show.

In the United States, the French artist is harder to pin down than most of his relational aesthetics counterparts. Tom Eccles, the show’s “consulting curator” (Eccles was asked by the artist to join the project after it was commissioned by Hans-Ulrich Obrist and Park Avenue Armory Artistic Director, Alex Poots), comments, “The wonderful world of Philippe Parreno is made up of many different parts. There isn’t a signature style.” However, “H {N)Y P N(Y} OSIS” begins to make sense of the fragmented Parreno pieces most contemporary art lovers will likely have encountered—the glowing lights of one of his signature marquee pieces at the entrance of the Guggenheim during the 2008 exhibition “theanyspacewhatever”; or the flickering tubular lights seen throughout the Arsenale building in Okwui Enwezor’s “All the World’s Futures”; or the feature-length film Zidane: A 21st Century Portrait, made with Douglas Gordon, that followed every movement of the legendary French footballer through one match; or, with artist and friend Pierre Huyghe, the act of purchasing the rights to a manga character, who they named Ann Lee. The character has since appeared in the works not only of Parreno and Huyghe but also those of Tino Sehgal, Liam Gillick, Dominique Gonzalez-Foerster, François Curlet, Melik Ohanian, and Rirkrit Tiravanija, amongst other artists. 

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Paul Winstanley on Architectural Digest Blog




      Art School 36, Paul Winstanley.




Painter Paul Winstanley Captures Empty Artists’ Studios on Canvas



British artist Paul Winstanley’s “Art School” paintings, now on view at the Mitchell-Innes & Nash gallery in Manhattan, take their inspiration from his own photographs of art-student studios left empty for the summer months.


Though imitative of photographs, these delicately realist works are full of painterly depth and texture. Plush grays and downy whites lend the scenes a soft, comfortable, well-worn feeling; the studios are empty and bare, monastic even, but never austere. Signs of craft and toil mark the floors, walls, tables, and chairs. In one piece, a bright orange surface—wall or canvas?—is so close it is almost menacing, an explosion of energy cutting off our view of the serene studio beyond.This tight cropping obscures depth and angles: Floors bleed into walls, art bleeds into floors, walls bleed into windows. Hazy summer light floods through grand windows and over partial walls. The spaces appear ethereal and dreamlike, ideal for thinking, imagining, and creating—and hard to leave behind, even for summer.

Through July 19 at Mitchell-Innes & Nash, 534 West 24th Street, New York, Text by Alexa Lawrence




Ann Veronica Janssens in ‘Belgian Geometric Abstraction’ at L’Espace de l’Art Concret



Belgian Geometric Abstraction

L’Espace de l’Art Concret

June 28 – November 19 2015

Château de Mouans

F06370 Mouans-Sartoux


With: Marcel-Louis Baugniet, Gaston Bertrand, Pol Bury, Jo Delahaut, Marthe Donas, Francis Dusépulchre, Pierre-Louis Flouquet, Henri Gabriel, Paul Joostens, Walter Leblanc, Karel Maes, Jean-Pierre Maury, Jozef Peeters, Victor Servranckx, Michel Seuphor, Guy Vanderbranden, Georges Vantongerloo, Léon Wuidar, Ann Veronica Janssens, Bas Ketelaars, Pieter Vermeersch





Ana Prvacki The Huffington Post Review



The Erotic Underbelly Of Classical Music

The first thing you’ll see upon entering Ana Prvački’s current exhibition at 1301PE Gallery is a video of a white tent, twitching wildly, accompanied by roaring classical music.

The shape of the fixture resembles a traditional camping tent, yet the usual polyester filling has been replaced with a membranous, white skin. Something is moving inside the tent, something resembling an otherworldly creature attempting to break free, its many limbs clawing wildly at the pliant fabric enclosing it.


From one angle, the goings on resemble an orgy or a raucous camping trip. From another, the tent itself seems to be sentient, wiggling and poking to the beat like so much “melodious pudding,” in the artist’s words.

It takes a while to realize that a live quartet is playing the classical number within the tent walls, and the frantic movements visible from the outside are elbows, violin bows, violas and various undecipherable limbs jerking and jolting to the music. The gestures involved in playing an instrument are, when draped in fabric, transformed into cryptic choreography, at once sensual, alien and silly.

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Philippe Parreno 500 words in Artforum




Philippe Parreno, The Crowd, 2015, digital video, color, sound, 24 minutes.

Paris-based artist Philippe Parreno’s installation H{N)YPN(Y}OSIS, 2015, is a fluid and infinitely variable composition of audio and visual elements that the artist can individually manipulate using an iPad. Parreno will be on site for the duration of the show, choreographing an ongoing, ever-changing dance featuring videos, sculptures, and live performances. H{N)YPN(Y}OSIS opens at the Park Avenue Armory on June 11 and will run through August 2, 2015.

UNTIL THIS PROJECT, the tools I had at my disposal to visualize a show were basically computer programs designed for positioning objects within a space. There wasn’t really a way to deal with the element of time. I was particularly interested in the Armory’s emptiness—there’s not much to contend with in terms of architecture—and I wanted to see how I could create blocks of time, or variable durations, within this vast open space. I was thinking about how I could get people to spend a couple of hours there. Instead of intervening in the infrastructure, like I did for my show at the Palais de Tokyo in 2013, H{N)YPN(Y}OSIS explores temporality by introducing time into architecture. Nothing I’m doing at the Armory is integrated into the architecture, so nothing is permanent or fixed.

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Ana Prvacki Wallpaper Review and Crossword Puzzle Competition




Orgasmic overture: Ana Prvački explores music and eroticism in her solo show at LA’s 1301PE Gallery – by Ali Morris

How would erotica look as a musical score? It’s a question that Yugoslavian artist Ana Prvački has answered in a rather frank manner with a new series of works called the ‘Porn Scores’, that see the artist deface classical sheet music with cartoon-like sketches of genitalia squeezed in-between notes, dangling below the staff and ejaculating across the bars. It’s the kind of limitation-exploring, comedic approach for which the LA-based artist is known.

‘The relationship between music and eroticism has been consistent,’ explains the LA-based artist. ‘Studies of music rooms of 17th and 18th century France and Italy show that young girls and women were encouraged to play an instrument but not too well. It was understood that a daily and in-depth experience of music would be too carnal for proper young women.’

It is these uneasy feelings within our cultural mores that inspires her work, something she describes as a ‘reconciliation of etiquette and erotics’.

Arranged into bound scores and propped up on music stands designed by Prvački, 22 of the Porn Scores (Wagner’s Tristan and Isolde opera takes up ten sheets alone) are currently on show at LA gallery 1301PE alongside Prvački’s ‘Tent, Quartet, Bows and Elbows’ – a video work which sees a string quartet perform music inside the confines of a tent, the bows of their instruments frenetically poking and stretching the fabric along to the music. Attendees at the show’s opening will be treated to a live performance of this by an LA based quartet, the Lyris.

Even those unable to attend can still participate in the titilating show by printing and completing the suggestive crossword puzzle poster (pictured above) that Prvački has created to promote the exhibition. The first Wallpaper* reader to submit the completed puzzle to crossword@1301PE.com will receive a drawing by Prvački herself. Now that’s what we call interactive art.





Philippe Parreno New York Times Review




In Philippe Parreno’s ‘H{N)Y P N(Y}OSIS,’ Art Is the Big Idea

When he was young, the French artist Philippe Parreno had a fantasy in which he would open his mouth and a beam of projector light would shoot out, casting his thoughts onto whatever was in front of him, medium and message in one human head. “My imagination would just be easy and available,” he once told the computer scientist Jaron Lanier.

For more than 20 years, Mr. Parreno’s imagination has been abundantly available in shows that seek, with a kind of operatic flair, to upend the sense of what an art exhibition can be: a moving sculpture you can sit on; a piece consisting of a talking ventriloquist and dancing curtains; another in which the temperature in a gallery plummets and an immense snowdrift slowly reveals itself. As the snowdrift might suggest, such pieces have never been easy, for art institutions or for art-goers raised mostly on painting and sculpture that stay politely in place, asking for little beyond contemplation.

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Rirkrit Tiravanija ‘The Studio Residency at the Land’ Kickstarter Launch





Rirkrit Tiravanija ‘Tomorrow is the Question’ at Garage Museum of Contemporary Art Moscow



Rirkrit Tiravanija ‘Tomorrow is the Question’

Garage Museum of Contemporary Art Moscow

June 12–23 August, 2015

Garage Museum of Contemporary Art presents the first large-scale exhibition of Rirkrit Tiravanija (b. 1961, Buenos Aires, Argentina) in Russia. Developed after spending time in Moscow while also expanding on his personal ongoing interests, Tiravanija has created a series of interconnected participatory projects that form a dialog with the history of the Soviet Modernist building Garage inhabits, as well as with popular activities that the artist experienced and envisaged in the city, such as ping pong, producing self-styled t-shirts, and eating pelmeni (the quotidian Russian dumpling). Adding another perspective to the exhibition, the artist has also paid homage to little-known Czechoslovakian conceptualist Július Koller, (1939-2007) who is both an inspiration and creative source for Tiravanija, particularly in his choice of the exhibition title: Tomorrow is the Question.

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Rirkrit Tiravanija ‘untitled 2015 (run like hell)’ at Galerie Chantal Crousel



Rirkrit Tiravanija

untitled 2015 (run like hell)

June 6 – July 18 2015


Galerie Chantal Crousel

10, rue Charlot

75003 Paris




Kerry Tribe at 356 Mission Artforum critics’ pick




356 S. Mission Rd.

Los Angeles, CA 90033

10 April – 31 May

A long projection wall cleaves the space in two. The first half, daylit, contains a veritable chromed forest of warped, Seussian C-stands, composed along with piles of pristine apple boxes, potted plants, and the occasional parabolic-mirror pod or monitor. Here, the accoutrements of photo-media production are pretentiously made into sculpture, the artist expressing, barely, an attempt at expression.

The second portion is a darkened theater screening Tribe’s three-channel video The Aphasia Poetry Club (all works 2015), narrated by three members of the titular group. “I’m aphasic,” says one, “and you are an artist, but we have a commonality: trying to express ourselves.” Over broad, beautifully edited shots of minerals and fruit, which the speakers haltingly describe, as well as CT-scanned images of arboreal blood vessels (aphasia is often linked to stroke), each narrator tells the story of how they suddenly, seemingly at random, became stricken with the inability to process language. The video ends in a kind of poignantly zany cartoon, envisioned by one sufferer, a screenwriter: The Loste Note (from which the show takes its title). A spider conductor leads a choir of singing pill bugs and shrubs: “I can’t speak, but I can sing / I have seen some awful things, / but it’s OK when we sing together.”

This backstory reframes the sculptures, allowing them to be read as practical objects, “things,” abstracted and bent toward poetry. Two sets of silk-screen prints hang opposite each other: Stroop color word test / Moondust, a simple set of mismatched color words used to detect brain damage, and Is Popcorn Alive?, another cognitive diagnostic tool—here reframed as text art. Other sculptures including minerals and a miniature mill illustrate the narrators’ stated interests, and seem to suggest a therapeutic utility—which the artist’s recontextualization subverts, somehow compromises, yet to which Tribe’s art aspires.

Travis Diehl




Blake Ryan ‘Peaceful Photographers’ at Campoli Presti London and Paris




Campoli Presti 


223 Cambridge Heath 

Rd London E2 0EL 



6 rue de Braque 

75003 Paris




Jorge Méndez Blake ‘Traslaciones topográficas de la Biblioteca Nacional’ at MUAC




Jorge Méndez Blake 

Traslaciones topográficas de la Biblioteca Nacional

May 23 – September 20, 2015

MUAC, UNAM, Mexico City

Jorge Méndez Blake has spent much of his career unveiling the secret lives of libraries, as utopian mechanisms of exploration, containment, classification, and accumulation; institutions that generate status, organic systems, totalizing cultural symbols of enlightenment and modernity. Topographic Transferrals from the Biblioteca Nacional is a project commissioned by the MUAC that forms a part of this extensive investigation, involving reflection on architectural materiality and its geographic location. In this case, the artist’s starting point is the physical proximity between the National Library and the Museo Universitario Arte Contemporáneo (MUAC) to activate library-museum and poetry-visual arts relations. He seeks to physically connect the two buildings through a series of actions that involve the participation of the artist and other persons. The MUAC was the final building to be incorporated into the University Cultural Center (CCU), and its architect originally conceived the internal corridors of the museum as streets that would connect the center of this complex with the National Library and the adjacent sculpture garden. In practice, the opposite has occurred, since for logistical reasons the corridor linking the esplanade of the Cultural Center with the Library has been closed off. The first action, The Surveyor, involved the marking of a series of points between the National Library and the MUAC, and documenting the artist on video as he explores an alternative route—the shortest between the two buildings—defining a straight line across the semi-wild area of vegetation and volcanic rock that separates them. To construct a straight line, the artist marks the territory it advances across, utilizing surveying instruments. This action alludes to the relationship between literature and the voyages of colonial exploration made by conquistadors, expeditionaries and adventurers, which gives rise to the relation between knowledge and modernity. At the same time, it builds a metaphor about the distance between literature and visual arts, where the Museum and the National Library operate as its material emblems.





Diana Thater “The Sympathetic Imagination” at LACMA




Diana Thater: The Sympathetic Imagination




Art of the Americas Building, Level 2


November 22, 2015–February 21, 2016

A pioneer in film, video, and installation-based art, Los Angeles–based artist Diana Thater has been active since the early 1990s. Thater’s work emphasizes the tension between the natural environment and mediated reality and, by extension, the tamed and wild, and science and nature. Often drawing on the complex relationship between animal and plant behaviors in the context of their respective environments, Thater’s evocative works occupy exhibition spaces via time, image and movement, creating discords and harmonies for the viewer.

The most comprehensive exhibition of her work to date, Diana Thater: The Sympathetic Imagination is a survey spanning nearly 25 years of the artist’s career. It begins with Oo Fifi, Five Days in Claude Monet’s Garden Part 1 and Part 2 (1992), which immerses the viewer in abstractions created by the separation and overlapping of color and image from slightly out-of-register images. The most recent work is Life Is a Time-Based Medium (2014), a monumental architectural piece filmed at the Galtaji Temple in Jaipur, India.




Philippe Parreno at Park Avenue Armory



“From spectacle to bafflement, moments of melancholy to visceral excitement… it is not so much an immersive exhibition as one that engulfs you.”
—The Guardian (UK)

In the past two decades, Philippe Parreno has almost single-handedly reshaped the very notion of what it means to experience art by turning the dynamics of a show into an evolving, situational process, exploring its possibilities as a singular, coherent object rather than as a collection of individual works.

In his largest installation in the U.S. to date, Parreno continues his interrogations into the radical redefinition of the exhibition ritual at the Armory, in one of the few spaces in the world in which such an epic experience could occur. Within the monumental interior of the Wade Thompson Drill Hall, he will construct a scripted space where a series of events fold and unfold onto the space itself, creating an architecture of attention on a scale of operatic proportions. This dramatic composition fuses the spectral presence of sound—both recorded and performed live — with film, light, collaborations, apparitions, and memory to guide and manipulate the viewer’s experience and perception. This sensory journey through both remastered existing works and new projects reveals strata that while present, were previously invisible, and metamorphoses the building into a quasi-living, perpetually evolving organism.




Paul Winstanley at Mitchell-Innes & Nash




Paul Winstanley


June 5 – July 10, 2015
534 West 26th St





NEW YORK, March 31, 2015 – Mitchell-Innes & Nash is pleased to present its third solo exhibition of work by the British artist Paul Winstanley. The exhibition will include approximately 10 new paintings from his ongoing series Art School, which is accompanied by Winstanley’s recent photographic publication, Art School (2013). The photographs of empty art student’s studios during summer vacations are the inspiration for both the monograph and the works in the show. The exhibition will be on view at the gallery’s Chelsea location from June 5 through July 19, 2015.


Paul Winstanley is best known for his delicate paintings from photographs, which pull beauty from quotidian environs with tactile precision. Wavering between photographic realism and painterly softness, Winstanley’s works call into question the quiet psychology of public and private spaces.


In this body of work, the artist traveled throughout the summer months of 2011 and 2012 ummer months to art schools in England, Scotland, and Wales, photographing their interiors unaltered and in natural conditions, which became the source material for his paintings. The resulting paintings on panel are saturated with the creative potential offered by their ethereal emptiness. Both poetic and contemplative, the artist studios depicted in the paintings document the undefined creative act: completed, imagined, or unrealized. Through the luminous absence of these spaces, Winstanley gives tangible weight to the aesthetic unknown.




Jorge Méndez Blake “Projets pour une Possible Littérature / Projects for a Possible Literature” at La Kunsthalle Mulhouse




Jorge Méndez Blake, “The James Joyce Monument”, 2012.
Plexiglas, metal, mirror, 140 x 80 x 75 cm.
Courtesy of the artist and Meessen de Clercq, OMR, Travesia Cuatro and 1301PE galleries.

Projets pour une Possible Littérature / Projects for a Possible Literature
Jorge Méndez Blake

Curated by Sandrine Wymann

June 4th – August 23rd 2015

Opening Reception: Wednesday, June 3rd at 6.30 pm
During Art Basel: Reception at La Kunsthalle, Friday June 19th at 7 pm

Projects for a Possible Literature is Jorge Méndez Blake’s first exhibition in a French art center. A Mexican artist born in 1974, he lives in Guadalajara and belongs to a generation of South American artists which is now extremely present on the international scene.
Through drawings, installations or environmental interventions, Jorge Méndez Blake brings literature closer to art. In his work, texts have a meaning, which he translates into shapes or images. He amplifies it through an expertly constructed conceptual language, and takes part in rewriting games. From his monumental installations to his simplest gestures, he imbues his work with a physical relationship between the chosen texts and the reader, who becomes a viewer. 
His work creates new connections between literature and architecture. His pieces broaden the possible readings between authors, texts and architecture by placing them in new contexts. 
Jorge Méndez Blake sees the exhibition at La Kunsthalle as an opportunity to come back to some of his existing work, but also to create numerous new pieces. He presents his work in an almost encyclopedic manner, gathering a range of buildings, books and other constructions to make up a complete collection of the formal elements of his work. The result is a set of small pieces which all carry the make-up for a possible literature.





Alex McDowell on Kirsten Everberg



Alex has chosen the painting on the left

Alex McDowell, film production designer and producer, founder and creative director of 5D Global Studio, on a painting by his wife, Kirsten Everberg

GB Tell me why you chose this painting.

AM ‘The Woodcutter’ is one of a series of four paintings by my wife, Kirsten Everberg. I feel deeply connected to my wife’s work. I’ve seen this incredible transition she made. She was a costume designer when I met her, working in film, and she decided that she wanted to go back to art school when we had our first child. So she literally went back to art school with Oonagh, our baby daughter on her hip. She was going to just dip in and then go back to costume but she realised she had found her life’s work. Her process is unique. She projects images and paints in very thin oil while the canvas is vertical, then she lays it flat and drips liquid acrylic onto the surface. There’s a constant tension between control and release. With this painting, what resonates for me is the notion of Kurasawa’s non-linear narrative Rashomon, that this series of paintings is based on. Like the film, this painting speaks to me of multiple issues about narrative. That’s kind of fundamental to what I’m doing nowadays. Then there’s this idea that every story has rich, layered, interwoven time and space, and each lens you put on it gives you a different story. For this series she made four very similar looking paintings of the forest where the Rashomon story takes place. Each one represents a different character and each character has a different story outcome because of their different viewpoint. And then there is her process. The surface of this painting has this beautiful quality of shifting from the abstract to the figurative depending on scale. The closer you get to it, the more abstract it becomes, which I think makes your relationship to the painting very volatile. It changes completely as you move back and forth from something chaotic to something that has layers of figurative meaning. The things she’s dealing with in memory and history are there for you if you stand back far enough to see it as something with a photographic source. Then as you get closer it becomes more about the paint and the materiality. That is a beautiful aspect but in this case it has extra layers of meaning with the Rashomon source.

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Sean Knibb blogs Jan Albers



Jan Albers: The Energetic Grid


Maybe it was the garden-like quality of Jan Albers work that first attracted Sean to it. In his recent Henry Hurt vs. Holly Heal series (seen below) the skewed squares seem to have the character of a flower, like gridded petals blowing in the wind.

The pieces in the series have a dimensionality that expands as the as the viewing angle changes. As constructions, they’re ingeniously engineered. Their texture radiates a kind of kinetic energy, seeming to move before your eyes. Their structure is both flower-like and architectural, like something made by bees in a kaleidoscope. The references to Cubism are hard to deny. The pieces are built from polystyrene (the stuff packing peanuts are made from) and/or wood and then covered in spray paint, or as in the gray piece above, graphite.  




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Laurel Doody now open


Laurel Doody is an apartment gallery on Miracle Mile in Mid-Wilshire, Los Angeles.  Over the next ten months the gallery will present a program of exhibitions, screenings, and events. Laurel Doody launched in April with the exhibition “A short line between three points” curated by Quentin Sprague and on view through May 21st.





Kerry Tribe LA Times review




Kerry Tribe, “The Aphasia Poetry Club,” 2015, video installation still.

The intersection of memory, language and perception is often congested – and sometimes even clogged. The presence of symbolic signals doesn’t always help the traffic flow.

Kerry Tribe has been productively working at the busy juncture for at least 15 years. “The Loste Note,” her new mixed-media sculpture and video installation at 356 Mission is among the most resonant excursions yet.
Concluding an international tour, the survey admirably unfurled 30 years of work by one of the most important artists of our time.
The title’s spelling aberration, in which “lost” gets tweaked to rhyme with “note,” is a clue. Language is malleable and elusive, as easily lost as an evaporating musical chord. As it disappears, however, it might open up a space for something new – for poetry.
The show’s centerpiece is “The Aphasia Poetry Club,” a three-channel, half-hour video “mural” narrated by two men and one woman. They are afflicted with a communication disorder that results from damage to the parts of the brain where language takes shape. (Aphasia is often the result of a stroke.) Tribe’s video projection mixes photographic images with animation.
As one aphasiac speaker describes the effect, information arrives more rapidly and in greater volume than her brain can process, leading to disorientation and unexpected perspectives. The video illustrates the effect in surprising ways.
The triptych might simply line up an apartment building’s second-floor walkway shown at a precarious tilt, then the apartment’s front door in a view that is blocked by a post and, finally, a vertiginous view down to a ground-level sidewalk that splits in two, interrupted by a bush. Your mind starts connecting the speaker’s struggling voice, which recalls an episode of stumbling into a hedge, to the blockages and confusion implied by the pictures.
Oddly, the faceted composition also recalls a Cubist painting. But it moves by too quickly to take it all in.
The exposition of aphasia marches on, with Tribe slowly building imagery to accompany the speakers’ narratives. The pictures include packed bookshelves, the solar system, geological specimens, Cambodia’s killing fields and a scattering of letters, which looks like alphabet soup.
Sometimes it switches over to animation. One speaker talks about his experience as a Navy SEAL, another relates his mother’s intimate interactions with birds. A cartoon seal in a naval uniform and a jaunty yellow bird arrive.
Uncomplicated, brightly colored and almost childlike in style, the animations lend ingenuous sweetness to a difficult situation. The cartoons build to a happy crescendo that comes as a relief – not least because some scenes were shot inside the very gallery in which we are watching the video. Dysfunction is all around us.
On the other side of the big video wall, mixed-media sculptures are composed from the microphone booms and lighting stands common to a television studio. None functions as expected. One seems to hold up a wall, another is twisted into a graceful arabesque, like a dancer.
Each sleek, chrome tube has been bent out of shape and extruded. They’re abstract drawings in space. Something soon dawns: The overload with which these aphasiacs struggle might also describe an entire society. Media-filtered information today arrives more rapidly and in greater volume than a brain can process. Overwhelmed by an excessive barrage of nonstop verbal and visual data, we are all aphasiac now.

356 Mission, 356 S. Mission Road, (323) 609-3162, through May 31. Closed Monday and Tuesday. www.356mission.com




Society for the Activation of Social Space through Art and Sound


(SASSAS) Announces
Bootleg LP Art Auction Pop Up Preview & Artist Reception
Hosted by 1301PE
Featuring an auction of work by more than 60 artists
including Sam Durant, Jim Isermann, Alice Könitz, and Pae White
Preview: May 27 – 30; Reception Thursday, May 28 from 6-9 PM
Bidding concludes at Blast! [12] Garden Party and Fundraiser
LOS ANGELES, CA (May 5, 2015) – The Society for the Activation of Social Space through Art and Sound (SASSAS) is thrilled to announce a Bootleg LP Art Auction Pop Up Preview of the Blast! [12]  silent auction on May 27 – May 30 with an Artist Reception on Thursday, May 28 from 6-9PM at 1301PE. Bidding concludes at Blast! [12], the SASSAS annual garden party and fundraiser on Sunday, May 31, 2015 from 4 to 8 p.m.
With a Battle of the DJs, food, beverages, and a Bootleg LP Art Auction, Blast! [12 ] takes place at the private residence of the Hillenburg Family in San Marino, CA and supports SASSAS’s experimental art and sound programming.
The Blast! [12] silent auction showcases original “Bootleg LP” artworks inspired by record album covers, and features more than sixty artists including: Julie Adler, Tom Allen, Kevin Appel, Skot Armstrong, Lisa Anne Auerbach, Judie Bamber, Miyoshi Barosh, John Bauer, Scott Benzel, Leonardo Bravo, Anita Bunn, Carolyn Castaño, Jeff Colson, Aaron Curry, Sam Durant, Brad Eberhard, Elif Erkan, Morgan Fisher, Sarajo Frieden, Francesca Gabbiani, Liam Gillick, Phyllis Green, Mark Hagen, Stephen Hillenburg, Margaret Honda, Violet Hopkins, Steven Hull, Jim Isermann, Farrah Karapetian, Alice Könitz, Norm Laich, Richard Laudenbach, Joseph Lee, T. Kelly Mason, John Miller, Yunhee Min, Aaron Morse, Fredrik Nilsen, Stanislav Orlovski, Joel Otterson, Gary Panter, Anthony Pearson, Joe Potts, Rick Potts, Stephen Prina, Tom Recchion, Lynn Robb, Steve Roden, Eddie Ruscha, Amy Sarkisian, Alex Slade, Leroy Stevens, April Street, Ricky Swallow, Mungo Thomson, Devon Tsuno, Dani Tull, Michael Uhlenkott, Tam Van Tran, Pae White, Chris Wilder, Julie Wilson, B. Wurtz, Jason Yates, Liz Young
The auction artwork will be on display to the public at 1301PE located at 6150 Wilshire Blvd, Los Angeles, CA 90048 from May 27-30, with an artist’s reception on Thursday May 28 from 6 to 9 p.m. Pre-bidding via the SASSAS website starts May 19 and the auction culminates at Blast! on Sunday May 31. For the first time ever, bidders will be able to access the auction online at http://sassas.org/auction and continue bidding until the final gavel at 7pm on May 31.
Blast! [12] features a “Battle of the DJs”, twelve DJs in a raucous mash-up of musical styles, with sets by Mitchell Brown (KXLU, Dublab), Tom Chasteen (Dub Club), Money Mark (Beastie Boys), Dave Muller (Three Day Weekend), Tom Recchion (LAFMS), Eddie Ruscha (Dub Club), Brian Simon (Dublab, Anenon), Gabie Strong (KCHUNG) and more. The MC will be actor, director Tom Stern (Freaked, Jimmy Kimmel Live!, The Man Show). This year’s party also celebrates the launch and forthcoming first release of SASSAS Records, a limited edition quarterly vinyl subscription.
General Admission Tickets for Blast! [12] are $50; tickets for children under 14 are $10. For SASSAS Members, tickets are $40 and $5 for children under 14. A limited number of $30 student tickets are also available. Admission includes food, drinks, great sounds, and good times. Each ticket purchased will be entered into a raffle for a chance to win one of four pairs of tickets to attend a SASSAS Listening Party, or a one year subscription to Volume 1 of SASSAS Records. Blast! [12] tickets and SASSAS Memberships can be purchased at http://www.sassas.org. The event address will be provided upon ticket purchase.
All proceeds, including the art auction, benefit SASSAS’s extensive programming, including its sound. concert series. For more information on upcoming SASSAS events, please call 323-960-5723 or visit http://www.sassas.org.

Blast! [12] Auction Committee:
Cindy Bernard, Gabriel Cifarelli, Carole Ann Klonarides, Katherine Niemela,
Fredrik Nilsen, Christina Ondrus, Renée Petropoulos
Blast! [12] Performance Committee:
Daniel Corral, Danny Gromfin, Greg Lenczycki, Tom Recchion, Joe Potts
The Society for the Activation of Social Space through Art and Sound (SASSAS) is a 501(c)(3) charitable organization that serves as a catalyst for the creation, presentation and recognition of experimental art and sound practices in the Greater Los Angeles area. Inspired by the resonance that occurs when experimental music is combined with unconventional performance environments, SASSAS seeks to foster new collaborations and improvisation to spark further exploration in the field. Programs include: sound. (annual concert series); soundShoppe (monthly workshop for experimental musicians); Ad Hoc (a project supporting touring musicians seeking to perform in Los Angeles), soundSpark (monthly children’s concert series), Kids Play. . . (workshop series introducing young adults to experimental musicians and composers), soundNet recordings (CD compilations drawn from sound. concerts), SASSAS Records (limited edition quarterly vinyl LP releases with signed/editioned covers by artists), and our free online SASSAS Archive.
SASSAS is supported in part through grants from the City of Los Angeles Department of Cultural Affairs, the City of West Hollywood Arts Commission, Good Works Foundation, Metabolic Studio, The Mike Kelley Foundation for the Arts, and the Los Angeles County Arts Commission.



Venice Biennale – Rirkrit Tiravanija, Diana Thater, Philippe Parreno


Okwui Enwezor’s “All the World’s Futures” at the 2015 Venice Biennale consists of over 136 artists from fifty-three countries, and will feature a space for live programming in the Central Pavilion designed by David Adjaye called The Arena. “The linchpin of this program will be the epic live reading of all three volumes of Karl Marx’s Das Kapital,” Enwezor states. “Here, Das Kapital will serve as a kind of Oratorio that will be continuously read live, throughout the exhibition’s seven months’ duration.” The Biennale has also commissioned Kara Walker to direct a new production of Vincenzo Bellini’s Norma (1831), which will be staged at La Fenice Opera House. The fifty-sixth edition of the Venice Biennale opens May 9 with previews beginning May 6, and runs through November 22.

Rirkrit Tiravanija:



Fiona Connor at Minerva Sydney



9 May – 20 June, 2015
Opening: 9 May, 4-6 PM
“Have It Your Way”
Will Benedict & David Leonard, Fiona Connor,
Joshua Petherick, Puppies Puppies

Minerva, Sydney supports an authentic exchange of critical discussion and considered viewing inside macro and micro views of contemporary art. The non-hierarchical model strongly informed by a program of local and international artists, writers, and curators.








25 April – 11 July 2015

Von Bartha in Basel, Switzerland, is hosting its first solo exhibition with the Copenhagen-based art group SUPERFLEX, entitled “Eurphoria Now”.

Both new works and past works will be displayed at the exhibition, which features large-scale installations and films. 

via en.artmediaagency





Charline von Heyl ‘Why Not?’ at Corbett vs. Dempsey



Charline von Heyl, Duck and Friends, 2014


Opening reception: Thursday April 30 from 6 – 8 PM

Show runs through June 6, 2015

Corbett vs. Dempsey

1120 N. Ashland Ave., 3rd Floor

Chicago, IL 60622





Charline von Heyl Review in NY Times



A 1995 Charline von Heyl at Petzel.

New York Times Review: Charline von Heyl, ‘Dusseldorf: Paintings from the Early 1990s’





Picturing the Cosmos: Creative Minds: Diana Thater



Photo via sjmusart.org

Picturing the Cosmos: Creative Minds: Diana Thater

Stanford University art historian Elizabeth Kessler will be in conversation with Diana Thater regarding her San Jose Museum of Art installation “Science, Fiction,” focused on dung beetles’ use of the Milky Way to orient themselves.

7PM, Thursday, April 23.

Cost: $10

San Jose Museum of Art

110 S. Market St.

San Jose, CA

“Beta Space: Diana Thater” runs through Sept. 13

via SF Gate




Paul Winstanley at Mitchell-Innes & Nash, June 5 – July 10, 2015



Paul Winstanley, Art School 37. Oil on panel.

Paul Winstanley – Solo Exhibition

June 5 – July 10, 2015

Mitchell-Innes & Nash

534 W. 26th Street

New York, NY






Rikrit Tiravanija Collaborating with Chef and Architects for New Project at Art Basel




This year’s edition of Art Basel in Switzerland will feature a specially commissioned collaborative sculpture and performative work by Rirkrit Tiravanija, architects Nikolaus Hirsch and Michel Müller, and chef Antto Melasniemi, titled DO WE DREAM UNDER THE SAME SKY. “Creating a place of hospitality, visitors can engage through the activities on offer, such as the drinking of herbal tea plucked fresh from the on-site garden, the preparation and eating of food,” the organization said in a statement. “The food will be rooted in Thai tradition and will be available with no fixed schedule, menu or price list: compensation is self-determined, by self-serving, serving others, donations or even participating in the cooking or washing up.

via Art Observed




Ann Veronica Janssens in DAMn No. 49



Ann Veronica Janssens is featured in DAMn No. 49.

Available at Artbooks PS1 or email magsmomaps1@artbook.com




Diana Thater feature in Time Out (London)



“Diana Thater Interview”

 By Freire Barnes, April 8, 2015


Diana Thater. Photo by Sigrid Rothe

“Dolphins, gorillas, dung beetles, and now monkeys – Diana Thater has filmed all sorts of animals for her captivating video installations that examine how we interact with nature and our surroundings. The LA-based artist talks about not being an adventurer, her love of David Attenborough, and the theatricality of religion.”

Read the interview here





Rirkrit Tiravanija at Sharjah Biennial



Rirkrit Tiravanija, untitled 2015 (Eau de RRose of Damascus). Commissioned by Sharjah Art Foundation. Image courtesy of the artist and Sharjah Art Foundation. Photo by Shanavas Jamaluddin.

“Sharjah Biennial 12: The past, the present, the possible”

For the Biennial, Rirkrit Tiravanija constructed an elaborate rose garden within the courtyard of the Calligraphers’ Studios, outfitting it with a rosewater distillery and kitchen, where visitors are invited to eat fragrant rosewater delicacies while relaxing atop ottomans in the lounge… 

The Biennial continues until June 5 and marks the most expansive edition to date, with locations spread throughout the city and into far-flung corners of the Emirate.” via Huffington Post

Read full article here






Ann Veronica Janssens at Esther Schipper



Images courtesy the artist and Esther Schipper. Photos by Andrea Rossetti.

Ann Veronica Janssens

Esther Schipper, Berlin

March 6 – April 18, 2015

Click here to view slide show




Jorge Pardo in “Re-Corbusier”




Jorge Pardo, Le Corbusier Chair, 1990

New exhibition celebrates Le Corbusier, through the eyes of those he influenced. The show, which coincides with the 50th anniversary of Le Corbusier’s death, serves as an imaginative counterpoint to the career survey of the Modernist Swiss architect’s work that will begin at the Centre Pompidou later this month. “Re-Corbusier” features work by Jorge Pardo, Olaf Nicolai, Michel Aubry, and more. via tmagazine

On view now through July at Maison La Roche, Paris




Jack Goldstein film screenings at Museum of the Moving Image




Jack Goldstein, Ballet Shoe, 1974-5

SCREENING AND LIVE EVENT: Downtown New York Film: The 1970’s and 1980’s launches today with Amos Poe’s “Unmade Beds” and short films by Jack Goldstein, Cindy Sherman, and Ericka Beckman at 3PM. With Amos Poe in person. 

Tickets are $12 for adults, $9 for senior citizens, and students and $6 for children. 

Museum of the Moving Image is located at 36-01 35th Ave. in Astoria.

via movingimage.us




Diana Thater: Life is a Time-Based Medium



Production still, 2014

Diana Thater: Life is a Time-Based Medium

26 Mar – 16 May 2015, Hauser & Wirth London


Opening: Wednesday 25 March 6 – 8 pm

Hauser & Wirth

23 Savile Row

London W1S 2ET





Paul Winstanley at The Usher Gallery, London



(detail) at The Usher Gallery, Lincoln

Curated by Andrew Bracey

Through 19 April, 2015

This exhibition features details of artworks by 118 artists to create a huge collage of images. Reproduced close-ups allow viewers to focus on brush strokes, surfaces, and minutiae of paintings. The exhibition launched at H-Project Space, Bangkok in June, and toured to Transition Gallery in London and now for its final venue, The Usher Gallery, London. 

Read more here





Uta Barth in Framing Desire



Modern Art Museum of Fort Worth, TX

Framing Desire: Photography and Video

Curated by Andrea Karnes

An exhibition showcasing over 40 recent acquisitions alongside iconic photographs and videos from the permanent collection of the Modern Art Museum of Fort Worth.

21 February – 23 August, 2015

The Museum of Modern Art of Fort Worth

3200 Darnell Street

Forth Worth, TX






Kerry Tribe: The Loste Note



Kerry Tribe: The Loste Note

10 April – 31 May, 2015

Opening reception: Friday, April 10, 7 PM

356 S. Mission Road, Los Angeles, CA 90033

Watch excerpt here





A Night of Performance with Kerry Tribe and friends at 356 Mission/Ooga Twooga



Kerry Tribe – “Critical Mass” Starring Emelie O’Hara and Nick Huff
Ben Vida – “Slipping Control” With Ben Vida on electronics and Mecca Vazie Andrews and Tara Jane O’Neil on vocals.
Plus Austin Meredith’s “LOOP”
Sunday, March 22 at 7 PM

356 S. Mission Road / Los Angeles





New prints by Jessica Stockholder



Jessica Stockholder, Belly Cat, 2015

Polígrafa Obra Gràfica presents an edition with Jessica Stockholder

Set of 5 Lithographs, 2015

“Aspect Syllabary”

On Somerset paper

Size: 30 x 30 inches.

Edition: 40

Price: $1,500 (each)






Diana Thater opens March 13 at San Jose Museum of Art



Diana Thater, Artist’s Rendering

Beta Space: Diana Thater

13 March – 13 September 2015

Press Release

San Jose Museum of Art

Open Hours: Tuesday – Sunday 11am – 5pm

Closed 11am – 8pm on the third Thursday of each month

via sjmusart.org






Close Conversation: Charline von Heyl and Mark Godfrey at MoMA, NY



Charline von Heyl, Untitled (L.S. #2), 2007

Close Conversation: Charline von Heyl and Mark Godfrey

When: Tue., Mar. 24, 2015 at 3:00 pm
Where: Museum of Modern Art 
11 W. 53rd St.
Price: $15

Click here to buy tickets or for more information from the venue’s website

Charline von Heyl and Mark Godfrey, Curator of International Art, Tate Modern, London


Join us for a series of one-on-one conversations between curators and painters in front of their paintings on view in the exhibition The Forever Now: Contemporary Painting in an Atemporal World. All conversations take place in The International Council of The Museum of Modern Art Exhibition Gallery, sixth floor, unless otherwise noted. Seating is extremely limited.


In conjunction with the exhibition The Forever Now: Contemporary Painting in an Atemporal World.




SUPERFLEX on the cover of QDA



The Armory Show in French daily, le QDA : L’Armory Show à New York attire toujours autant les collectionneur














March 6, 2015 – Issue No. 786

Buy this issue





Jessica Stockholder: SITE 20 Years / 20 Shows



Jessica Stockholder, A Green Cut, 2013

Public Opening for SITE 20 Years / 20 Shows SPRING



Friday, Mar 13, 2015 at 5 – 7 pm



SITE 20 Years / 20 Shows, is a yearlong series of 20 projects including exhibitions and special events. The three-part series celebrates SITE’s dynamic exhibition history by reconnecting with 20 artists who have showed at SITE over the years and inviting them to return to SITE to present new work, sometimes in collaboration with other artists and creative producers. The first installment Spring features the works of Gregory Crewdson, Deborah Grant, Roxy Paine, Mary Reid Kelley with Patrick Kelley, Rose B. Simpson, and Jessica Stockholder.

via SITE Santa Fe




Charline von Heyl at Petzel Gallery, March 6 – May 2, 2015



Charline von Heyl, Untitled (3/95, I), 1995

Charline von Heyl


Düsseldorf: Paintings from the early 90s


March 6 – May 2, 2015


35 E 67th Street, New York, NY 10065 

“Petzel Gallery is delighted to announce the inauguration of our new uptown location with an exhibition of early paintings by Charline von Heyl. The group of paintings assembled was previously exhibited in Cologne and Munich between 1991 and 1995, before the artist moved to New York. This will be the first showing of the work in the United States. The exhibition will be accompanied by a catalog with an interview between Isabelle Graw and the artist. ” via Petzel





Artforum Critic’s Picks: Fiona Connor



Fiona Connor

6150 Wilshire Blvd.
January 24–March 14


Fiona Connor, Community Notice Board (Green), 2015, mixed media, dimensions TK.

“Perhaps it is Parker Ito’s elastic installation in a warehouse behind Chateau Shatto that best reflects our current moment of fingered screens, zooming surfaces, and gleaming connectivity. Or maybe it is Liz Craft’s web of yarn, skeletons, speech bubbles, and ceramic dicks at Jenny’s that offers a timely response to our present social and aesthetic desires by way of desublimated Pop scenery. Another approach: Fiona Connor’s exhibition, “Community Notice Boards,” addresses the influence of Internet technologies on new modes of communication by calling on the social networks of sites experienced IRL only. By re-creating a cross section of bulletin boards sourced from Laundromats, libraries, cafes, and other public spaces throughout the city, Connor negotiates the “found object” as something closer to reproducible image rather than salvaged assemblage or purchased readymade. While these notice boards have been reconstructed in structural and material likeness of the “originals,” their faded flyers and scrappy ephemera have been meticulously replicated on aluminum sheets rather than on paper: “Do you have a drug problem?”; “Clases de inglés gratis”; “I buy houses.”

Connor’s material sleight of hand is a critical act of preservation, one that attempts to underscore how proximity and place now contend with more immediate and immaterial means of communication. Documenting its own obsolescence, Community Notice Board (La Brea), 2015, displays little more than vandalized cork, lone pushpins, and traces of paper. If these boards evoke a sense of loss, the effect is not quite nostalgic—their cheerless condition hardly induces sentimental longing for the past. What does it mean to preserve media and materiality in the privileged space of art? Connor’s practice seems to suggest there are larger implications for the work of art and its engagement with the social that exceed the immediate pre/post-Internet binary of our contemporary technological moment.”


via Artforum




Tiravanija at YBCA reviewed on domusweb



Arin Rungjang, Golden Teardrop (installation view), 2013. Courtesy of the artist and the Office of Contemporary Art and Culture. 

“Much of Tiravanija’s work – whether it is an installation, a print, a documentary, or a curatorial project – fosters the direct and creative engagement of the viewer, user, or participant. He is particularly known for his projects where “things” function as props for visitors to create something of their own, and his interest in how cultural products can foster social production of one kind or another. As a curator, he looks for relationships between his own practice and that of other artists, yielding a rich map of his role as a hyper-connector.” Read the full article here




Rirkrit Tiravanija hosts Local Source event at the Headlands Center for the Arts



Marin Headlands, CA – Fort Barry

Headlands Center for the Arts presents: Local Source: Rirkrit Tiravanija


Sunday, February 22, 6:30pm-9:00pm, Sausalito


MORE INFO: http://www.headlands.org/


Internationally acclaimed artist Rirkrit Tiravanija (AIR ’15), known for his groundbreaking contributions in the realm of social practice, will orchestrate a shared meal with a mixed menu based on what is fresh and locally available. As we eat together, Tiravanija will talk about various processes and projects that blur the line between artist and viewer, and ask how an artwork might leave a lasting impression when its medium is something as finite as food. Setting the table in Headlands’ historic Mess Hall-renovated by artist Ann Hamilton-this gathering invites visitors to engage with art in an exceptionally sociable way.


This event is co-presented with Yerba Buena Center for the Arts in conjunction with Tiravanija’s recently curated exhibition The Way Things Go. On view at YBCA February 13-June 21, 2015.


DATE/TIME: Sunday, February 22



LOCATION: Headlands Center for the Arts

944 Fort Barry, Sausalito, CA, 94965



COST/REGISTRATION: $75 General | $50 Headlands Members.

Local Source: Rirkrit Tiravanija






Jan Albers cOlOny cOlOr solo show at Von Der Heydt-Kunsthalle, Wuppertal




Jan Albers, diGGinGdeeP, 2014

Jan Albers

cOlOny cOlOr

Solo-show at Von Der Heydt-Kunsthalle, Wuppertal

March 22 – June 28, 2015, opening Sunday March 22, 3 pm


The exhibition will travel to Kunstpalais Erlangen.

An extensive catalogue is published, with texts by Markus Heinzelmann, Museum Morsbroich and Brigitte Kölle, Kunsthalle Hamburg




SUPERFLEX in Group Therapy: Mental distress in a digital age



Still from SUPERFLEX, “The Financial Crisis,” 2009

The exhibition Group Therapy: Mental distress in a digital age will be showing at FACT (Foundation for Art and Creative Technology)between 5 March – 17 May 2015. Originating from FACT’s extensive work within mental health and well-being, the exhibition explores the complex relationship between technology, society, and mental health.


Works featured include Superflex’s video installation The Financial Crisis, which illustrates the 2008 market crash from a therapeutic perspective, and highlights the correlation between financial risk, anxiety and emotional distress. 



88 Wood Street,


L1 4DQ

0151 707 4444




Pae White: Magnificent Obsessions



Pae White stands amongst her collection of Vera Newman scarves at the Magnificent Obsessions show. Photo: Peter Macdiarmid/Getty Images Europe

‘Magnificent Obsessions: The Artist as Collector’ is the first major exhibition in the UK to present the personal collections of post-war and contemporary artists. Ranging from mass-produced memorabilia and popular collectibles to one-of-a-kind curiosities, rare artifacts and specimens, these collections provide insight into the inspirations, influences, motives and obsessions of artists. 

Magnificent Obsessions: The Artist as Collector

Barbican Art Gallery, London

12 February 2015 – 25 May 2015.






Philippe Parreno in Mousse #47




Rethinking the Ritual of the Exhibition

by Hans Ulrich Obrist

Philippe Parreno and Paul B. Preciado, a philosopher, writer and activist at the helm of the Independent Studies Program of the MACBA, raise ground-breaking questions ranging from the coercion of the public by the institution to processes of disidentification from dominant sexual identities, in a conversation conducted by Hans Ulrich Obrist.






The Importance of Being: A Panorama on Belgian Contemporary Art



Travelling exhibition: Cuba, Argentina, and Brazil

13 February until 26 April 2015
Museo Nacional de Bellas Artes, La Habana, Cuba

‘The Importance of Being…’ is an exhibition on contemporary art taking place in several locations in Latin America throughout 2015 and 2016.  The project is curated by Sara Alonso Gómez. Bruno Devos is the project director. 

Rather than focusing on strictly geographical features or criteria, the exhibition raises questions concerning the polymorphy of the multilingual, transcultural mindset associated with a certain – elusive – Belgian identity.

Participating artists include Marcel Broodthaers, Chantal Akerman, and Ann Veronica Janssens. 

Read the full article here




Allegory of Cave Painting at Middelheim Museum, Antwerp



Allegory of Cave Painting – Group Exhibition

25 October 2014- 29 March 2015


Middelheim Museum and Extra City Kunsthal jointly present: a dual exhibition which assembles modern and contemporary painters, who provide a polyphonic answer to the prehistoric Bradshaw-paintings in Australia.

These prehistoric North-Western Australian rock paintings are continuously rejuvenated by their “living” pigments.


The central aspect of the exhibition in the Middelheim Museum is the dialectic of intimacy and knowledge of our relation with art objects.


The show assembles artworks of, amongst others, Ciprian Mureşan, Michèle Matyn, Alon Levin, Navid Nuur and Hans van Houwelingen, that dialogue with artists from the museum’s collection, like Dan Graham, Ann Veronica Janssens, and Medardo Rosso.

via Middelheim Museum




Rirkrit Tiravanija – “The Way Things Go” @ UC Berkeley




Rirkrit Tiravanija Artist Lecture



23 February 2015 7:30 pm




The UC Berkeley Department of Art Practice Wiesenfeld Visiting Artist Lecture Series with co-sponsors The Arts Research Center at UC Berkeley, The Berkeley Center for New Media, The David Brower Center, and The Yerba Buena Center for the Arts present:



Monday, February 23rd, 2015, 7:30 – 9:00 pm
*Note location: The David Brower Center, 2150 Allston Way, Berkeley, CA 94704


Free, accessible, and open to the public


Seating will be on a first-come, first-served basis.





Rosanna Albertini reviews Community Notice Board



Fiona Connor, Community Notice Board, 2015, Exhibition Poster

“Fiona Connor brought to Los Angeles from New Zealand the heartfelt attachment to a sense of equality, a better word for democracy. Her art is a tribute to gestures and habits of social passing on that are not destined to last, or to be considered worthy of attention. Those moments and objects that slip through our fingers like water, like time. Small memorials of the living that nobody loves, just useful, they don’t count. “There is an ethics -she tells me- in renewing and reflecting people’s notice of common needs, to pay a tribute to ephemeral moments.” As most of life is.”

Read the full article here





COME AS YOU ARE : Feb. 11 – April 15




Diana Thater, Ginger Kittens, 1994

February 11 – April 15 at Montclair Art Museum

COME AS YOU ARE: Art of the Nineties

Featuring works by Diana Thater, Rirkrit Tiravanija, and Jorge Pardo

This exhibition marks the first major American museum survey to examine the art of this pivotal decade in its historical context. Showcasing approximately 60 works by 45 artists, it includes installations, paintings, sculptures, drawings, prints, photography, video, and digital art. Come as You Are offers an overview of art made in the United States between 1989 and 2001—from the fall of the Berlin Wall to 9/11—and is organized around three principal themes: the “identity politics” debates, the digital revolution, and globalization. Its title refers to the 1992 song by Nirvana (the quintessential ’90s band, led by the quintessential ’90s icon, Kurt Cobain); moreover, it speaks to the issues of identity that were complicated by the effects of digital technologies and global migration. The artists in the exhibition came of age during and reflect the increasingly heterogeneous nature of the art world during this time, as artists of color, women artists, and LGBTQ artists attained increased prominence.

The exhibition is curated by Alexandra Schwartz, MAM curator of contemporary art, with Kimberly Siino, curatorial assistant. Following its premiere at MAM, the show will embark on a national tour.

via Montclair Art Museum




Maccarone Gallery Hosts Preview Of SculptureCenter Benefit Exhibition



SculptureCenter is hosting its benefit exhibition from February 3rd through 5th at New York’s Maccarone gallery at 98 Morton Street.

Featured artists include Sanford Biggers, Louise Bourgeois, Petah Coyne, Dan Graham, Camille Henrot, Louise Lawler, Margaret Lee, Nate Lowman, Adam McEwen, Haley Mellin, Claes Oldenburg, Coosje Van Bruggen, Martin Puryear, Blake Rayne, Ugo Rondinone, Sterling Ruby, Richard Serra, and more.

February 3 – 5, 2015

98 Morton Street
New York, NY 10014
tel 212 431 4977
fax 347 394 0043

Gallery Hours:
Tuesday – Saturday, 10:00 AM – 6:00PM




Ann Veronica Janssens and Michel François at La Verrière




Philaetchouri, Installation view

“A tarmac floor supports a monumental form in crumpled, corrugated aluminium. Waterlogged ‘pot holes’ reflect the sky above: La Verrière is the setting for a new installation devised and created in situ by artists Ann Veronica Janssens and Michel François, working together for the first time since 1999 (when they represented their home country of Belgium at the 48th Venice Biennale) at the invitation of curator Guillaume Désanges. The show is the latest in the gallery’s current season, Gesture, and thought.” via Hermés Fondation


6 February 2015 – 30 April 

La Verrière, Brussels

50 boulevard de Waterloo, 1000 – Brussels, Belgium

Monday – Saturday, 11 am – 6 pm





Uta Barth in NYT Crossword Puzzle




Uta Barth, Untitled #1 (1979-1982 / 2010)

Uta Barth in the NYT Crossword Puzzle


The clue for No. 42, across in the New York Times’ Jan. 24 crossword puzzle was this: German-born photographer Barth. The answer, of course, is UTA. Uta Barth is a professor of art emeritus atUCR who is known internationally for her abstract photography. Last year, she won a $500,000 MacArthur Fellowship, one of the most prestigious awards in the country. She was born in Berlin, Germany.

via UCR Today

See works by Uta Barth here

23 Geniuses Were Just Given $500,000 Completely Unexpectedly With No Strings Attached