The Triennial’s predictive, rather than retrospective, model embodies the institution’s thirty-seven-year commitment to exploring the future of culture through the art of today. This third iteration of the Triennial is titled “Surround Audience” and is co-curated by New Museum Curator Lauren Cornell and artist Ryan Trecartin.
“The Registry of Promise: The Promise of Literature, Soothsaying and Speaking in Tongues” at De Kabinetten van De Vleeshal, Middelburg
The fourth and final part of “The Registry of Promise: The Promise of Literature, Soothsaying and Speaking in Tongues”, addresses language, modes of writing and the book. Stretched to its breaking point while being at once materialized and dissolved into a certain opacity, language assumes a plastic quality in this exhibition—as if it were something that could be grabbed onto and held, and yet remained entirely beyond one’s grasp. What is more, in this exhibition language has been made to shed its practical capacity of communication, entering into a much more marginal space of purpose, while nevertheless seeking to foster a productive, if at times, sinister reverie.
“The Missing Hour: Rhythms and Algorithms” is the third solo show by Danilo Correale at Raucci Santamaria Gallery in Naples. The exhibition is made up of new works that reference the artist’s research on the politics of sleep. They take shape from various scientific, historical and production apparatuses, which reveal the social complexity of the apparently banal act of sleeping. Correale weaves an argument for how the circadian rhythm has become a continuously evolving algorithm, ever since the equation that bonds productivity to the extension of the working time became part of the late capitalist dream of a never-ending production model.
Carlos Amorales returns to kurimanzutto with “El Esplendor Geométrico”, a series of twelve collages that incorporate color for the first time into his work. Based on smaller compositions made with color paper samples, these large-format works present collage as an action or as a verb. Beyond its definition as pictorial technique, collage is introduced as a tool to construct meaning. Despite their apparent abstraction, the works on view recall landscapes; different shades suggesting the passage of time and seasonal changes of light. In this exhibition, Amorales proposes a discussion about temporality through the use of form and color.
“Odyssey in Italy” is the title of T-yong Chung’s second solo exhibition at Otto Zoo gallery. Chung is a South Korean artist who has been living in Italy for several years. The new installation draws inspiration from the journey, real and symbolic, that the artist has taken throughout Italy in the past few years. He visited different places, lived in different cities and approached Italy’s huge cultural tradition. His artistic research is attracted to the iconography and the modern merchandising of the immense Italian Heritage.
Dina Danish “To Be A Pinball”
SpazioA is pleased to present “To Be A Pinball”, second solo show by egyptian artist Dina Danish at the gallery. “My vocabulary did this to me” confessed the poet Jack Spicer, during his last moment of lucidity before passing away. This final statement inspired the artist Dina Danish to reflect on how something intangible, like words, can potentially become a menace. Her idea of shifting this feeling from the linguistic to the visual dimension became a way to explore the potentiality of language in art last November in the setting of a performance program at South London Gallery.
Silvia Bächli was born in 1956 in Baden (Switzerland). She lives and works in Basel, Paris and Karlsruhe, where she also teaches as a professor at the Academy of Fine Arts. In 2009 Bächli had a solo show at the pavilion of Switzerland at the 53rd Biennale di Venezia. Her installation “das” (Eng. “that”) consisting of 33 drawings and photographs was also an homage to the Danish writer Inger Christensen.
“Constructed culture sounds like conculture” explores the practice of five international artists, their individual approaches to storytelling, formally and conceptually and how the artworks they produce suggest a narratative world with its own set of rules, a constructed environment. When using the term “constructed”, one is prompted to think of a conculture or fictional culture. Constructed Culture is not synonymous with what social anthropologists define as a cultural construction; a shared understanding of some aspect of the world that exists because the people of a specific culture acknowledge and understand that thing to exist. Constructed culture sounds like conculture examines the work of five practices using various techniques to illustrate their individual, constructed worlds, which emerge out of their subjective and uncondensed experience. These experiences range from political investigations into a cultural dream, formal breakdowns of architectural elements, romantic journeys into the tropical and wild, to interests in social codes and re-writing the codes of a rollercoaster landscape.
Hauser & Wirth Zürich is pleased to announce an exhibition of new chalkboard paintings by Rita Ackermann. This body of work was presented for the first time at Sammlung Friedrichshof, Austria in 2014, and a second series was shown later the same year at Art Unlimited, Art Basel. The works in this exhibition are a step further in Ackermann’s investigation into the deconstruction and disappearance of a pictorial language. Ackermann’s new compositions occupy a space between the figurative and the abstract, where human forms simultaneously disappear and re-emerge in traces of chalk dust.
After six years at Kurfürstenstraße 156, Tanya Leighton is pleased to announce the gallery’s expansion into a newly renovated, 130 m space opposite the existing gallery. Inaugurating Kurfürstenstraße 24/25 is a solo exhibition by Dan Rees titled “Stimulate Surprise”, which spans both the new and existing galleries.
Focal Point Gallery is pleased to present Paul Johnson’s exhibition “The Sunless Sea”, a series of new work by the British artist, presented in FPG’s main gallery, window space and display cabinets. Inspired by south Essex’s history of attracting utopian thinkers and the artist’s continued interest in the failed historic attempts to fulfill such visionary ideas, Johnson presents an ostensibly ritualistic series of sculptures and wall works, seemingly shaped by their processes and history.
Artie Vierkant, Vanessa Safavi, Bunny Rogers, Alessandro Piangiamore, Abinadi Meza, Cynthia Madansky, Adam Kuby, Corin Hewitt, Keith Hennessy, Elias Hansen, Francesca Grilli, Carin Goldberg, Martino Gamper, Anna Franceschini, Luca Francesconi, Andrea De Stefani, Gabriele De Santis, Tomaso De Luca.
In his Philosophical Investigations, Wittgenstein describes the structure of our thoughts as they are prior to an illuminating discovery, when they remain on hold, with contradictions left to resolve. The task of any creative pursuit isn’t, according to him, to resolve or clarify these contradictions, but to give a “precise” idea of this disconcerting, confused situation that precedes the contradiction’s resolution. Similarly, the “clear and confused” atmosphere of Jean-Baptiste Bernadet’s paintings outlines a preliminary state, that floating zone where the contradiction hasn’t been treated and sent off, but subsists as reservation. Their haziness doesn’t illustrate a subjective state (expressionism), or objective (impressionism) but simply exists as such. As a “subject” it causes its own effect.
The gallery is glad to present “Pull Over Time”, a personal exhibition by Michel Blazy. Coinciding with the publication of a monographic reference catalogue produced by the frac Île-de- France and published by Manuella Editions retracing more than 20 years of creation, the exhibition proposes to re-enact the most emblematic pieces of Michel Blazy’s artistic career while putting emphasis on his new work.
Per B Sundberg has been noted for his innovative and experimental attitude towards the ceramic material and this new exhibition will present a large number of new works. The exhibition at Andréhn-Schiptjenko shows new objects modeled on already existing porcelain figures, where the physical quality of the clay has been underlined by colors and surfaces recalling substances such as chocolate, plastic, earth, sperm and snow.
Sam Korman: Why start with Picabia? Or did you arrive at Picabia?
Douglas Fogle: The idea for “Beautiful Monsters” definitely started with Picabia, but really from his writing. The title of the show was taken from a stanza of “Baccarat”, from 1940:
“I am a beautiful monster
who shares his secrets with the wind.
What I love most in others