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January 31~2015
The Noing Uv It is an exhibition about objects and their image, matter and its memory, and the revealed and concealed nature of “things.” Addressing the possibility of a latent primitive consciousness in materials, it includes work by over 30 international artists, as well as a number of other objects, technologies and artefacts.
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January 30~2015
Is it still possible today to be unmediated? In a world that is dominated by a corporate economy, based on automation, commodification, a bureaucratization of life and high performance strategies, what are the boundaries between personal expression and market agendas?
These are only some of the questions that Cally Spooner explores in her practice. Using theory and philosophy as an alibis to write, the artist produced over the years a body of work that through writings, films, live events, broadcastings and installations investigates the behaviour of speech and challenges traditional notions of performance.
January 29~2015
“Drift” is a series of works that focus on solidarity, empathy and immersion. These are material forces that make social life become real. It is through our bodies and on the basis of how we live, that we make sense of these images we constantly immerse ourselves in; images we relate to and images we are alienated by. There may not necessarily be a simple logic to what triggers our responses, they are much rather part of process in which subjectivity is rendered precarious, in political and economic terms.
January 28~2015
Paulo Bruscky & Robert Rehfeldt “Home Archives”
Throughout the 1970s, mail art connected hundreds of artists around the world, creating a networked community of exchange, and in some cases, political resistance. Chert is delighted to present an exhibition of the correspondence of Paulo Bruscky (BR, 1949) and Robert Rehfeldt (DE, 1931–1993), bringing together their embellished letters and art works sent over a period of around ten years, from 1975 onwards. These works allow an in-depth look at how two artists who felt a strong affinity with one another, but had never met, developed an enduring conversation and friendship.
January 26~2015
Hey, Kaspar.
So, to get started, should we talk about travel or about circulation?
When it comes to these images of Lake Zürich, it’s mainly a matter of place. A very specific place. When you see the images, you won’t be in the same place, because they were all taken in Zürich, and the exhibition of the photos is in Berlin. So you would have to travel, even just in your imagination, to a specific destination. It’s not that much about traveling in general, but about one place, which might include traveling as a way of getting there—but then, that place has in a way traveled to Berlin. The lake is portrayed in a number photographs, unique moments captured over a year, over 4 seasons, in different weather conditions.
January 24~2015
Jamie Sneider
At the end of the 5 months, her studio was destroyed. It was usable, but the floorboards turned a bluish- green and the walls were stained with dye, coffee, urine, etc. I didn’t care. They kept leaving notes, “Whoever is throwing away so much trash in the bathroom! Stop!” It was never my studio, it was her studio, and neither of us were ever coming back.
January 24~2015
During the summer of 2014 English artist Phoebe Collings-James took part in Nuove//Residency, a residency program sited in the Bassano del Grappa region of Italy that teaches young international artists the skills to produce new work in the ceramic medium. On the occasion of “Choke On Your Tongue”, the Italian Cultural Institute and ARTUNER are delighted to present this new body of work for the first time in London. The title of the show expands on a series of drawings the artist conceived four years ago, a statement Collings-James has maintained to describe feelings of frustration in both her personal life and work as an artist at that time. “Choke On Your Tongue” exists as a proclamation, a suffocated desire of a kept expression. Through the presented new works the artist seeks to develop this feeling which is centred on her continued investigations into language, communication and sexuality.
January 23~2015
Following the exhibition at Museum de Hallen in Haarlem (NL), the Grazer Kunstverein presents the first solo show in Austria by artist Christian Friedrich. The exhibition entitled “On Something New / Dirt in a Hole” presents an array of works including a newly produced, large-scale sound and light work, an immersive, monumental video installation and a series of earlier sculptures. Friedrich’s artistic interest lies in the structure, manipulation and conditions of subject-object relationships. A common theme in the artist’s work is the subjugation of the human body, which he regularly presents as an object of desire in which power and submission collapse into the subliminal. His earlier drawings and sculptures are informed by cause-and-effect formulas, mining various Conceptual traditions and their quasi-rational methods, both strict and frivolous.
January 22~2015
The oeuvre by Chicago born artist Rashid Johnson is abundant in references to Afro-American culture: Shea butter, African animal skins, and/or icons of Afro-American literature and music are the subjects that appear in ever changing constellations. Over the years these references have developed into an individual iconography; they have emancipated from their origin, while retaining a strong connection to the place from which they were born.
January 21~2015
January 20~2015
Sturtevant “Double Trouble”
The Museum of Modern Art presents the first comprehensive survey in the U.S. of the 50-year career of Sturtevant (American, 1924–2014), and the only institutional presentation of her work organized in the U.S. since a solo exhibition at the Everson Museum of Art in 1973. The exhibition is on view from November 9, 2014, to February 22, 2015. “Sturtevant: Double Trouble” brings together over 50 key artworks from all periods of Sturtevant’s career in almost every medium in which she worked—including painting, drawing, photography, sculpture, film, and video—identifying her as a pioneering and pivotal figure in the history of modern and postmodern art. The exhibition is organized by Peter Eleey, Curator and Associate Director of Exhibitions and Programs, MoMA PS1, with Ingrid Langston, Curatorial Assistant, Department of Drawings and Prints, MoMA. The exhibition will travel to the Museum of Contemporary Art in Los Angeles where it will be on view from March 21 to July 27, 2015.
January 20~2015
Milano Art Bulletin is a platform for contemporary art made up of a website and a newsletter that keeps professionals and enthusiasts up to date about gallery and museum exhibitions in Milan.
The project identity and web design is handled by Mousse Art Agency, while the web interface is supported by Artshell.
Cover image by Giovanna Silva.
January 19~2015
In the manifestation of the sacred, an object, such as a stone or tree, turns into something else while remaining itself and continuing to be part of the cosmic order. A hierophany, to use Mircea Eliade’s term, determines the saturation of being in its fullness, is fulfilled in every gesture of everyday life, including physiological needs, inscribing humanity within a foundational logic that is capable of giving new meaning to the world in its phenomenological totality. Petra Feriancova is an artist capable of elaborating autobiographical elements in an authentic way, fusing them with other information coming from many different areas, translating them all into catalogues, intimate and universal at the same time, which have the inspiration of epic narratives, although they are fragments, fragile scores or situations that could be termed infra-ordinary. On this occasion she tells of myths and mysteries which, in their unutterability, relate the time of contemporary humanity to archaic humanity. A work that could be called civilizing through its relation with matter, with the natural elements and by means of the creative act, that of manual work as a foundational act.
January 18~2015
Peter Doig is one of the most fascinating artists of today. The Fondation Beyeler presents an exhibition of his most important oil paintings and experimental works on paper, as well as a monumental new mural.
January 17~2015
Lulu is proud to present a solo exhibition of the US-born, Hopkinton-based artist Michael E. Smith. Detroit-native Michael E. Smith has earned a well-deserved reputation as one of the most radical sculptors of his generation for his terse, aesthetic prognostications. An evoker of aftermath, human fragmentation, and urban desolation, he has a strong penchant for unusual materials ranging from everything to plastics, protective gear, automotive components, foams, animal parts, industrially produced comestibles, human bone, and perhaps most importantly, textiles.
January 16~2015
The Jewish Museum and the Film Society of Lincoln Center will present the 24th annual New York Jewish Film Festival at the Film Society’s Walter Reade Theater and Elinor Bunin Munroe Film Center, January 14-29, 2015. The festival’s 47 features and shorts from 11 countries—21 screening in their world, U.S., or New York premieres—provide a diverse global perspective on the Jewish experience.
January 15~2015
Jacqueline Bebb, Nina Beier, Adam Broomberg and Oliver Chanarin, Sol Calero, James Clarkson, Susan Collis, Gabriele De Santis, Jason Dodge, Sean Edwards, Tim Foxon, Ryan Gander, Ditte Gantriis, Mario Garcia Torres, Gareth Griffith, Brian Hubble, Dean Hughes, David Keating, Chosil Kil, Jonathan Monk, John Henry Newton, Alek O., Joe Orr, Wilfredo Prieto, Laura Reeves, Amanda Ross-Ho, Andreas Slominski, Mateo Tannatt, Mungo Thomson, Oliver Tirre, Santo Tolone, Brent Wadden, Bedwyr Williams, Jesse Wine. Curated by Adam Carr.
January 14~2015
Eric Baudelaire “FRMAWREOK FAMREWROK FRMAEOWRK FOMARERWK”
The films, photographs and installations by Eric Baudelaire investigate the very framing conditions of historiographical narration. How do the production processes underlying a film image, a story, a portrait or a document themselves shape the reality they depict? By mobilizing and using the hidden framework of media devices, templates and ideologies with which we construct history, present and future and in staging them within the frame, Baudelaire creates fictitious documentary and documentary fiction. Here, a document turns into a framed picture, a film improvisation collides with the exhibited film script, a documentary film portrayal does not show portrait images of those portrayed, an analytical diagram becomes an ornament on a wallpaper.
