Galleria Franco Noero is pleased to present “From ‘La Voie Humide’”, the first solo exhibition in Italy of works by the Brazilian artist Tunga, and his first in the gallery.
Geoffrey Farmer “Cut nothing, cut parts, cut the whole, cut the order of time.” at Casey Kaplan, New York
Kathy Acker rang my head like a bell.
It happened sometime in the spring of 1990, while she was reading out loud, a passage to our class from Gertrude Stein’s 1914 book Tender Buttons.
I had just read it myself and thought little of it. In fact I clearly remember not liking it.
Raphael Hefti has a novel approach to experimentation with materials. He is fascinated with processes and often invents his own. His works blur boundaries between natural and industrial, abstract and representational. He frequently collaborates with technicians, scientists, and even dogs, to reveal unexpected beauty in ordinary materials.
Demon’s Mouth is pleased to present “The Scéne Changes”, an exhibition of new work by Paul Segers. The exhibition includes 10 works on paper and two videos.
I am talking about the skin in its impact upon the mind, what I have called the Skin-Ego
Didier Anzieu, A Skin for Thought
Kunsthalle Lissabon presents “Moi-Peau”, the first solo show of Mexican artist Mariana Castillo Deball in Portugal.
A key element within the practice of Richard Hughes is the notion of time—of time passing—of wasting time—of the effect that time has on a place or an object, how it deteriorates and changes, how it can be transposed elsewhere. His exhibitions posses an ability to create a sense of time-lapse, creating environments that cannot be placed and which become re-structured narratives. Hughes’ work draws from a multitude of references—cultural, social and historical, as well as personal—each reference being filtered through his own immediate experience, as if pulled from the catalogue of things that are around us: TV, music, beliefs, stories, the places we visit on purpose and by accident, aspects of our upbringing, reactions to our circumstances. Appearing as familiar, sometimes everyday objects or structures, these meticulously constructed sculptures are painted casts from polyester resin, they are created replicas of discarded, useless items, which have long passed their best days. Hughes gives them a second life, suspending them at a point of deterioration. Imbued with a morbid humour, his practice also makes reference to Victorian graveyards, memento moris, his own upbringing within urban and suburban locations, such as his hometown of Birmingham, the 1980s and 1990s and their various subcultures. Hughes’ works might be seen as literary-autobiographical assemblages that evoke notions of abandonment and memorial—but which can also create a sense of the enchanted and the sublime.
The third part of “The Registry of Promise”, “The Promise of Moving Things” deals with the so-called life of objects in our current pre-post-apocalyptic paradigm. Influenced in equal measure by animism, the much discussed philosophical movement object oriented ontology, the surrealism of Alberto Giacometti’s early masterpiece The Palace at 4 am (1932) and even the theoretical reflections of the Nouveau Roman novelist, theorist and editor Alain Robbe-Grillet (an OOOer, so to speak, well avant la lettre), “The Promise of Moving Things” seeks to address just that–the very idea that there exists some promise within objects in a world in which humans no longer roam the earth. Neither a critical rejection nor an endorsement of these ideas, the exhibition embraces the ambiguity at the very heart of the word promise. It questions to what extent this negative faith in the cultural and animistic legacy of objects is a genuine rupture with the anthropocentric tradition of humanism and to what extent it is merely a perpetuation of it.
The exhibition designed by Julian Charrière for the Musée cantonal des Beaux-Arts brings together works for which the artist travelled to Iceland, Kazakhstan, the Atacama Desert (Chile), Bolivia and Argentina. His work, which is a blend of conceptual explorations and poetic archaeology, is similar to a research process which includes performances and photographic documentations as well as installations.
Marsèlleria presents a solo show by the artistic duo Invernomuto. The exhibition is designed as an overview of the last three years of artistic research and production by the duo, comprising Simone Bertuzzi and Simone Trabucchi. It takes the form of a narrative and reflection on themes generating varied, multi-faceted content that is at the same time harmonious and coherent.
“Ajar”. A solo exhibition by Roman Ondák.
The herbst exhibition “Forms of Distancing” focuses on the concept of distance, thereby dedicating itself to a special aspect of the of the festival’s leitmotif “I prefer not to…share!”. To this end, steirischer herbst has commissioned numerous works intended to examine the notion of distancing oneself in the sense of refraining from something. The focus is on refraining from immediately taking a stance on anything, thus allowing more space for independent thought.
The Moving Museum will launch its 2014 Istanbul exhibition in the Sishane Otopark. It will be held across 3 floors of the complex, inhabiting five central halls, a metro level mezanine, and the public outdoor park. The exhibition will span over 80,000 square feet and will feature newly commissioned presentations by all 46 artists and collectives during an intensive three month residency period in Istanbul.
Over the past 3 months The Moving Museum saw 35 international artists join 11 local artists in Istanbul in a period of intensive research, production, and public engagement, and each artist was commissioned to engage in a major new work during their time in the city. The artists represents a generation of practitioners working seamlessly across disciplines and borders, displacing aesthetics and redefining best practices against a backdrop of constant change. The exhibition serves to articulate these approaches through the locus of Istanbul, a city echoing this artistic flux, and whose questions and promises embody a microcosm of compatible concerns.
Giò Marconi is very pleased to announce “In the Realm of”, a new exhibition by Annette Kelm. For her second solo show with the gallery the German artist will present some recent works along with others created specifically for the occasion.
“Nothing Twice” is the first project in Poland to combine an exhibition and performance action on such a large scale. This event is being organized to mark the launching of Cricoteka’s new building. The exhibition and the accompanying performance programme interpret the influence of Tadeusz Kantor’s concepts in the work of contemporary artists operating at the crossover between theatre, performance and the visual arts. This project is based on the idea of the ready-made, Appropriation art and the concept of re-performance. It poses questions about the archiving and collecting of Live Art. “Nothing Twice” tackles the double nature of the object as botha prop in performance and an autonomous artwork. In other words: the issue of the materiality of performance and staging of the exhibition space itself. The exhibition will be the mise-en-scene where individual works will create a collage-like installation.
François Ghebaly is pleased present ”I’m Different”, Sayre Gomez’ first solo exhibition in Los Angeles. The exhibition will consist of 4 distinct yet related bodies of work that are all centered around the ideas of ___________ , ______________ , ________ , ________________ , ______________ . Each body of work is presented within two different yet highly contrived spaces loosely referencing a shopping center with its indoor showroom, and surrounding outdoor garden.
I had a computer since I was one. Like thousands of trees, waterfalls and stuff. It would be so good to look at now, this printed-out list of emoticons. The librarian was telling everyone to use Google instead of Yahoo because it was better. I thought it was a weird word.
West Den Haag proudly presents, “MORE”, a solo show of new works by Italian-Belgian artist duo Simona Denicolai and Ivo Provoost. This exhibition includes a preview of their animation film project Hello, Are We In the Show?, and interventions with local residents throughout The Hague.
“MORE” is the second exhibition by Denicolai and Provoost after “Uitburgeren, Baby” (2010) at West. As multidisciplinary artists, Denicolai and Provoost work with, but not limited to, animation, objects, and installations. Central to their practice is to play with existing models such as the social and economic systems by upturning the common perception of things. To do this, they retract art from its conventional place by working within public spaces such as fishmarkets, town squares, social media, and public institutions to extend their work outward into daily life.