Get Mousse at home:
March 7~2014
Laura Bartlett Gallery is pleased to present The Walk…in green, our fourth solo exhibition with artist Becky Beasley.
Robert Walser’s relatively long short story, The Walk, is the story of a day in the form of a walk ending at nightfall. Along the way the story unfolds through domestic, urban and country landscapes. It is a kind of straight story (A to B), which nevertheless proceeds by a shaggy dog method (via C). It is a model for the exhibition.
March 6~2014
March 5~2014
The Power Plant is pleased to present the first solo exhibition in Toronto by the renowned British artist Mike Nelson. Nelson is best known for his large-scale installations, in which visitors move through immersive spaces of his invention. The artist is creating new, site-specific work that is dramatically transforming the gallery’s space to explore the ideas of travel, the road trip and the journey, themes that are at the heart of Mike Nelson: Amnesiac Hide.
March 5~2014
“Shakti”
Shakti is primordial cosmic energy and represents the dynamic force through which the whole universe moves.
Shakti is the personification of the divine feminine creative power.
Brand New Gallery is pleased to present “Shakti”, an all-female collective that provides a bird’s-eye view on contemporary artistic practices adopted by emerging and established artists at an international level.
March 4~2014
Churner and Churner is pleased to announce Jordan Kantor’s second solo exhibition at the gallery.
This exhibition will comprise a wide-ranging selection of interconnected works, indicative of the artist’s diverse studio practice.
March 4~2014
For its new show, Art: Concept is glad to present Nathaniel Mellors’s work. This project has been set-up in collaboration with Gallery Monitor (Rome), which represents the artist, and is to be considered as the first of a series of exchange-projects between the two galleries. Born in 1974 in Doncaster (England), this artist, who lives and works between Los Angeles and Amsterdam, develops an art based on film-making; writing scripts as well as directing and editing them, and working closely with actors such as Patrick Kennedy and David Birkin. To these films, he adds works based on sculpture and photograms, such as the ones that can be seen in this show. His studio works incorporate humor, irreverence, the poetic and the absurd but to address themes of ownership, history, power, morality etc. By drawing inspiration from the techniques linked to cinematographic fictions, he inscribes his work within given contexts of the social reality that he questions and analyzes. He explores our tastes, morality, habits and the various ideas anchored in our collective memory.
March 3~2014
A new exhibition of recent works by ten contemporary artists tracing a growing interest in the pollution and breakdown of systems and processes. Slippages and spillages, disruption and contamination characterise sculptural, film and installation works.
March 3~2014
Collaboration is the most important component of Marinella Senatore’s concept of art. The Italian artist (*1977) involves thousands of people in her elaborate projects as producers, writers and in other roles to create, for example, parades, operas and radio programmes. She is not only concerned with triggering social processes but also with questioning concepts such as community and social responsibility, finding new narrative forms and ultimately in generating a collective memory through joint action. Kunst Halle Sankt Gallen is showing documentary material and the results of several of her projects, for instance in the form of films, and is launching a new particípative venture: Estman Radio.
March 2~2014
From January 18th to March 31st the gallery Vera Munro presents new works on two floors. Dorner continues the very new group of objects, which he did for the first time in 2010, now with oil, acrylic and paint on wood.
March 1~2014
The notion of circularity applied to historiographical inquiry is a reoccurring theme in the work of Jorge Satorre. We can understand in this concept the necessity of continuous interchanges among shifting points of view, analyzing details of isolated or apparently anomalous occurrences in the historical fabric in order to compare them with generalized or hegemonic versions. The proposal for Satorre’s second solo show in the Gallery arises from the result of a movement in this direction, towards a new context of inquiry.
March 1~2014
Luxembourg & Dayan is pleased to announce ‘A Not So Still Life’, an exhibition of two significant late paintings by Lucian Freud (1922–2011), presented alongside other modern works in juxtapositions that invite new associations and insights into the art of a 20th century master.
February 28~2014
The structure of the show is simple. A single large room (the Shed, the pitched-roof building that leads into the central body of the Hang- ar) with five works: one per corner, and at the center, the installation 432 Hz (2009), which could be seen as the autobiographical linchpin of the system. It helps to know that a few years ago the artist moved to Greece, where she keeps bees. Created for the group show “Barock” at the MaDRE museum in Naples, the work consists in a pavilion made of wooden panels, containing backlit beehive frames. Assaël has created designs on them by sealing some cells with wax, in various compositional schemes – as if the social life inside had arranged itself into transitory formations or atypical patterns. When a visitor enters, the sound is activated: a buzz at the frequency of 432 hertz— i.e., cycles per second – considered particularly “organic,” because it is a multiple of 8 Hz, the base frequency of the Earth (much of the world’s music was tuned to this natural pitch until the Fifties, when the International Standards Organization decided to set standard pitch at 440 Hz, which is now shared by all electronic instruments). A geographic echo also reverberates in the title of the exhibition, which is not a word but an untranslatable sequence of sounds and syllables, like the onomatopoeic reflection of a place: ILIOKATAKINIOMUMASTILOPSARODIMAKOPIOTITA.
February 27~2014
Pavel Pepperstein “Debris of the Future”
Pace London is pleased to present an exhibition of new drawings and paintings by Pavel Pepperstein from 11 February to 15 March 2014 at 6-10 Lexington Street. “Debris of the Future” will be Pepperstein’s first exhibition with Pace and coincides with the UK-Russia Year of Culture programme initiated by the British Council and the Russian Ministry of Foreign Affairs. At once intriguing and confounding, Pepperstein’s pictorial language appropriates the Suprematist iconography of the Russian avant-garde, impregnating its minimalist forms with mysterious figures drawn from Russian folklore, Hollywood films, science fiction and the artist’s own ingenious fantasies.
February 27~2014
“I was digging through a forum for machine operators and sign makers. Most of the threads had predictable subjects – surface finishing techniques, prototyping and modeling, etc. – but then I stumbled on a post under the subject accidental cryogenics. I figured it was spam, but there was a post inside. My phone died as I was reading it – but I had already copied part of the text. When I tried to find the post again later it had been removed. It read:
February 26~2014
Dear Chris and Martin,
I am aware you haven’t had the information at hand to reflect the works in the exhibition in the text so far so I will make an attempt to fill you in below.
February 26~2014
Last day to watch Canoas by Tamar Guimarães on Vdrome.
Canoas focuses on the preparations for a cocktail party at Casa das Canoas – the house Oscar Niemeyer built for himself in the early 1950s. The film stages a situation that echoes the house’s past use and glamour, set in the contemporary Brazilian cultural scene.
Watch the entire film on vdrome.org
February 26~2014
The Margins of the Factory presents two recent projects by the Rotterdam-based duo Iratxe Jaio & Klaas van Gorkum that are motivated by their interest in art´s relationship with labour. Each explores sculptural form and manufacturing processes from the perspective of artists who have not usually made objects. Jaio & van Gorkum undertake what are in part sociological investigations by documenting the local, marginal effects of the displacement of manufacturing industries over the last two generations with the emergence of the global market. Emerging from the artists´ personal history and implicating the direct effects of their own vocation as well as work they ask of others, the projects are moreover complicit in asking what kind of industriousness brings value and what political life objects might have.
