With Ilja Karilampi, Leslie Kulesh, Isaac Lythgoe
Identikit children in search of their own childhoods line the walls. Children with shit stained hands booty dance through a splintered landscape. A werewolf girl goes for drinks in the night. A decapitated sheep foregrounds naughty children. Spliced elements of pre- and early modernism are layered atop each other. The symbols are shaped to emanate guilt and shame. The tradition of painting is a long history of fabricated images meant to crawl under our skin, and into our psyches.
“The Violet Crab” at DRAF looks to cabaret past and present in over 100 new commissions, live acts and works from the David Roberts Collection, taking residence in an extravagant mise-en-scene designed and directed by artist Than Hussein Clark. “The Violet Crab” at DRAF takes cabaret as a situation for queering the inscriptions of time and space.
Seth Price, Ben Vickers/Holly White, Yuri Pattison, Carola Spadoni, Jennifer Chan, Jaakko Pallasvuo, Ogino Knauss, Riccardo Benassi, Andrea Magnani, Anne de Vries, Harm van Den Dorpel, David Horvitz, Andrew Norman Wilson, Martin Kohout, Roberto Fassone, Alessandro Di Pietro, Ilja Karilampi, Auto Italia, Philip Corner, Luciano Chessa, Marco Dal Pane, Anthony Pateras, Salvatore Panu, Valerio Tricoli
visual coordination: Enrico Boccioletti; project coordination: Daniele Gasparinetti; production: Xing/Live Arts Week
Sam Lipp “I’m An American Citizen, I Know My Rights” and Jessica Sanders “Soft Poached” at Neochrome, Turin
Sam Lipp “I’m An American Citizen, I Know My Rights”
Recollections of Exotic Birds
With Sam Lipp’s exhibition “I’m An American Citizen, I Know My Rights,” I have been given to recollections of exotic birds. These birds, owned by my family over the last 20 years, periodically dart into my thoughts; birds, that impoverished metaphor for empty signifiers.
James Fuentes is pleased to announce “Debris,” an exhibition featuring work by Darja Bajagić, David Wojnarowicz, Haim Steinbach, Lizzi Bougatsos, Nevine Mahmoud and Renaud Jerez.
Ernie Gehr “Bon Voyage”
Ernie Gehr made his first 8mm films in the 1960s and has since made almost 100 films and digital works. Self-taught, he is regarded as one of the masters of experimental cinema. Gehr’s subtle explorations of style and form, together with the poetic sensibility of his work, have had a profound impact on avant-garde cinema.
Robert Elfgen “there and after all” and Hans Op de Beeck “The Drawring Room” at Marianne Boesky Gallery, New York
Robert Elfgen “there and after all”
Working between painting, collage, sculpture, and installation, Robert Elfgen draws upon the symbolic power of imagery to create unstable allegories that challenge the fixed nature of representation. Much of Elfgen’s practice is driven by the act of collecting: found street signs, broken fence posts, and other castoff remnants populate his installations and assemblages. Paintings of flora and fauna from his home in rural Germany are intuitively placed alongside these objects to create open-ended metaphors that allow for evolving meanings. It is this intersection of art, society, and nature that is at the forefront of his work.
This exhibition features works from different series which are bound together by a narrative trait. “Computer Controlled by Pig’s Brain” alludes to the impact of commercial mass media and the fictive nature of images. The history of Chinese painting is dissected and its methodology reflects Guogu´s questioning approach to established associations and symbols. “The Brain Nerves” are not only abstract portraits of the mental space of artists such as Marcel Duchamp and Joseph Beuys, but also measure the sensibility of the brains of the portrayed subjects. The works of the “Visionary Transformation” series are reminiscent of Buddhist Thangka paintings, yet Guogu aims to distill the essence of the iconographic subject and to transform the material energy of the painting into a mirror that opens up a personal search for truth. “The aesthetic resonance of Chakra” series is based on the artist’s exploration of the seven chakras. These series of paintings share the will to resonate the energy between the space of the painting and the energy centers within the viewer.
L’esposizione personale di Hidetoshi Nagasawa inaugura la nuova stagione di mostre che Renata Fabbri proporrà nel suo spazio milanese, sotto la nuova insegna di Renata Fabbri arte contemporanea, coadiuvata da un team di curatori, critici, filosofi ed artisti coi quali ha instaurato un rapporto di collaborazione e complicità. Questa prima occasione segna l’avvio di una serie di iniziative tese a confermare il rapporto di collaborazione già instaurato con alcuni artisti nonché l’innesto di nuove energie in una realtà dinamica in grado di proporre maestri acclamati ed artisti delle ultimissime generazioni.
Doug Aitken, Kathryn Andrews, Walead Besthy, Martin Boyce, Joe Bradley, Verne Dawson, Jay DeFeo, Trisha Donnelly, Carroll Dunham, Latifa Echakhch, Maria Eichhorn, Matias Faldbakken, Sam Falls, Peter Fischli and David Weiss, Liam Gillick, Douglas Gordon, Wyatt Kahn, Karen Kilimnik, Andrew Lord, Tobias Pils, Adam Putnam, Gerwald Rockenschaub, Ugo Rondinone, Dieter Roth, Eva Rothschild, Steven Shearer, Josh Smith, Oscar Tuazon, Franz West, Sue Williams and Michael Williams.
Jennifer Boysen, Kadar Brock, Donna Huanca, Evan Nesbit, Nicholas Pilato, Graham Wilson, Jeff Zilm
Artists: Dagrun Adalsteinsdottir, Una Margret Arnadottir, Ed Atkins, Jordan Baseman, Hanna Kristin Birgisdóttir, Margret H. Blondal, Helga Griffiths, Francesca Grilli, Styrmir Orn Gudmundsson, Graham Gussin, Anne Haaning, Kolbeinn Hugi Hoskuldsson, Selma Hreggvidsdottir, Hekla Dogg Jonsdottir, David Kefford, Raul Keller, Kris Lemsalu, Katarina Lofstrom, Ragnar Helgi Olafsson, Beatrice Pediconi, Finnbogi Petursson, Sally O’Reilly, Ene-Liis Semper, Margret Helga Sesseljudottir, Helgi Thorsson.
Raymond Boisjoly, Matt Browning, Aaron Chan, Andrew Dadson, Zachari Logan
The exhibition space is turned into a stage for moving images. Just as actors have their roles in a play, the individual works here also have their entrances and exists. Presented in differing projection situations, the films, short and long loops as well as filmic triptychs that are linked cyclically stand in a spatial and temporal relationship to each other. The sequence of the pieces is consequently structured in an infinite filmic loop and accordingly functions as a connective stylistic means. The arrangement of the individual works follows a complex score that is targeted at their atmospheric interaction on the one hand as well as to enable the viewer to focus on each of them individually on the other. In the process, motion and immobility, sound and silence, the mysterious and the banal in Franceschini’s pictorial world are interwoven.
Quinlan takes the exhibition as a critical stance, in which different aspects of her work over the past ten years are unfolded and re-read. The inventorying and editing of the images opens up a field of mediations between the original prints and their final display, allowing Quinlan to address questions of seriality, abstraction and indexicality. Repetition and size are at play in the form of single images, diptychs or full editions, explicitly reiterating the artist’s own steps. Instead of proposing a linear reinterpretation of her work, Quinlan posits a circular temporality; revisiting, reusing and putting images from different times in contact, making them contemporaneous.
with David Douard, Liz Craft and Jesse Stecklow
Una Donna, che tiene la destra mano alta; con la sinistra un’Asta, & si posa colli piedi sopra una Base quadra. La mano alta è indicio di pertinace costanza ne’ fatti proponimenti. La Base quadrata significa fermezza, perche, da qual si voglia banda si posi, stà salda, & contrapesata egualmente dalle sue parti, il che non hanno in tanta perfettione i corpi d’altra figura. L’Asta parimente è conforme al detto volgare, che dice, Chi ben s’appoggia, cade di rado. Et esser costante non è altro, che stare appoggiato, & saldo nelle ragioni, che muovono l’intelletto à qualche cosa.