Art : Concept gallery inaugurates the third solo exhibition by Adam McEwen, in which the artist will present a set of new pieces. The three works in this show, Conduit, Equalizing Ramp and Instrument, share a relationship to the body. Conduit, a steel pipe inserted through an office chair, imagines a vertical channel that penetrates a seated form; Equalizing Ramp, a 5.5 meter sloping ramp placed against the wall beneath four repeated newspaper pages, is a simple method of moving the viewer’s eye level up or down; and Instrument, a plastic chair with its feet embedded in beer cans and its seat crudely cut out, implies a body which is trapped: trapped by the feet or by the obscure intention behind the cutting action on the chair.
As I was typing the words “Giordano Bruno” in the Google search engine in order to reminisce about the reasons why this famous Italian monk was convicted at the hands of the Inquisition, I was bewildered as a long list of websites appeared, inciting me to buy a “GoPro”, a popular camera that you can fasten just about anywhere to film your most unexpected sporting achievements in subjective mode. No relationship whatsoever is to be found, of course, between the 16th century Dominican whose statue adorns the Campo de’ Fiori in Rome and this contemporary narcissistic tool, if but a few letters that my tired fingers might have mixed up. And then again, maybe there is? Maybe this convoluted relationship can serve as an illustration of what I was looking to express regarding Aurélien Froment’s work.
A press release usually greets the viewer with the wrong hand. By immediately setting the exhibition in an artificial landscape of references, concepts and analysis, it awkwardly takes its distance from it. Most of the time it euphemizes the conditions of the exhibition’s making and neutralizes the discussions and questions which sparked during its conception, in order to offer an image of self-evidence.
Galerie Perrotin, Paris is pleased to present a first solo show by Laurent Grasso, featuring a device of forty works made specially for the occasion. With “Soleil Double,” Grasso develops one of the founding concepts of his work: the real is twofold. To see the truth, we must look for its mysterious side. Drawing on his personal reading of Michel Foucault, Grasso transforms objects into subjects in an almost cinematic scenario. Each work functions as a block of reality identified in the collective unconscious and is made strange by subtle alterations. The confrontation of this common reality with deliberately staged anachronisms creates a zone of instability were the mind can wander in time.
For her third solo show at Galerie Jocelyn Wolff, Katinka Bock proposes an experimental project specifically created for the gallery space, entitled “Populonia”. Katinka Bock is interested in containers, objects with an opening, that can receive and give. These she largely names receptacles.
VW (VeneKlasen/Werner) is pleased to present a solo exhibition by Italian artist Gianni Piacentino. The show, curated by Centre d’Art Contemporain Geneva’s director Andrea Bellini, will feature a consistent body of works, following the development of his artistic career over the last fifty years, from the monochrome compositions in 1965 to the present day.
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In this issue…
The Authoritative Speech, The Authority of the Readymade, Adam Broomberg & Oliver Chanarin, The Corporate Aesthetic, Lav Diaz, The End of Art in Public Space, Escaping the Politics of Prediction, The Explosion of the Exhibition Format, Kim Fisher, Robert Gober, Steinar Haga Kristensen, Tamara Henderson, Alice Könitz, Gottfried Lindauer, Mélanie Matranga, Bruce McLean, Minimalism as Pathos, The Post-Digital Condition, Jean-Frédéric Schnyder, Patrick Staff, Stylometry Part 2, The Theater of Violence, Guan Xiao.
“I met a traveller from an antique land
Who said: “Two vast and trunkless legs of stone
Stand in the desert. Near them, on the sand,
Half sunk, a shattered visage lies, whose frown,
And wrinkled lip, and sneer of cold command,
Tell that its sculptor well those passions read
Which yet survive, stamped on these lifeless things,
The hand that mocked them and the heart that fed;
And on the pedestal these words appear:
‘My name is Ozymandias, King of Kings;
Look on my works, ye Mighty, and despair!’
Nothing beside remains. Round the decay
Of that colossal wreck, boundless and bare
The lone and level sands stretch far away.”
Percy Bysshe Shelley, Ozymandias, 1817
Ellis King is delighted to present Kour Pour’s “Ozymandias”; the artist’s first solo exhibition at the gallery and also in Europe.
Mice were everywhere, but they didn’t really see them until they dropped dead: under the bed, amongst the books, drowned in a honey pot, or inside a small cardboard box held by a young boy. The little boy would chase the little girl in the long corridor holding the dead mouse and throwing it at her when cornered behind a door.
Laura Bartlett Gallery is pleased to present “F for Fibonacci”, the first exhibition at the gallery by British artist Beatrice Gibson.
F for Fibonacci is a new film that takes as its departure point American author William Gaddis’ epic modernist novel JR (1975). An eerily prescient, biting social satire, JR tells the story of a precocious 11 year-old capitalist who, with the unwitting help of his school’s resident composer, inadvertently creates the single greatest virtual empire the world has seen, spun largely from the anonymity of the school’s pay phone.
“The Image of Time. Anatomies of the Immaterial”, curated by Gino Pisapia is a collective dialogue, the show offers a reflection on the concept of time and on the forms that are generated from it and in it, through the work of Emanuele Becheri, Diego Caglioni, Elia Cantori, Cristian Chironi and Giovanni Oberti.
“In all the arts there is a physical component which can no longer be considered or treated as it used to be, which cannot remain unaffected by our modern knowledge and power. For the last twenty years, neither matter nor space nor time has been what it was from time immemorial. We must expect that great innovations will transform the entire technique of the arts, thereby affecting artistic invention itself and perhaps even bringing about an amazing change in our very notion of art.”
There are groups within society that sleep with “instrumental assistance” and those that do not. Citing this example and similar ones, in 1934 Marcel Mauss deconstructed the idea of seemingly natural human motion sequences through his cultural-anthropological classification of “bodily techniques.” What is more, social systems and structures become inscribed in the body, which is always impacted by society.
“This morning, once again, I introduced myself to the world! As I was setting myself right away about to work, the sky was still dark and the stars were under my gaze, the light from my lamp was brushing against me… I didn’t take the pencil in my hand yet and I was already thinking about what to do shortly from now on… My house was a ultimate triangle, a small slice of world, a place in continuous variation, a place in continuous degeneration… It was September 25th 2014… I cannot remember of anything else…”
Liam Gillick and Rachel Harrison “International Company of Wagons Lit etc. etc.” at Galerie Meyer Kainer, Wien
At the invitation of Galerie Meyer Kainer Liam Gillick and Rachel Harrison have worked in parallel. There is no traditional curating of work here to support a narrative or thesis.
Philippe Parreno “With a Rhythmic Instinction to be Able to Travel Beyond Existing Forces of Life” at Pilar Corrias, London
Pilar Corrias presents “With a Rhythmic Instinction to be Able to Travel Beyond Existing Forces of Life”, Philippe Parreno’s third solo exhibition at the gallery. Comprising four new automatons, the show is Parreno’s first in the UK since his 2010 solo exhibition at the Serpentine Gallery. The exhibition centres around the titular work, a new automaton assembled from hundreds of drawings created by Parreno over the last four years, each depicting the same insect: a firefly or luciola (small light), that is brought to life on a large LED screen.
This exhibition selects from five decades of works by North American artist, Richard Tuttle. It surveys his use of textile and each work is accompanied by a short piece of writing by the artist.
With an extensive, diverse and innovative body of works executed over the past thirty years, Shinro Ohtake has clearly positioned himself as one of the most important creative forces in contemporary Japanese art. Ohtake’s oeuvre includes drawing, pasted works, painting, sculpture, and photography, as well as experimental music and videos, but the activity of cutting and pasting is clearly his most powerful form of expression.