This autumn, Sadie Coles HQ presents new works by Michele Abeles in her first exhibition with the gallery. The show will extend across both spaces in Mayfair, 69 South Audley Street and 9 Balfour Mews. Abeles’s use of photography maintains an anonymous approach. Sight levers open gaps of enigma in a period of airtight slotting and seamless surface. Does X=X? Her characteristic treatment of the body alternates between deploying it as a readymade and peering at it as a grey form knowable only as it is abstracted, dispersed, projected onto, exposed, or dressed up. If every iteration is only provisional, like the shifting angle of light or lens or the passing of an indifferent gaze, it is no less stringent and instrumental.
Bétonsalon – Center for art and research is pleased to announce the first large-scale solo exhibition by French, New York-based artist, Camille Henrot in Paris. “The Pale Fox” is an immersive environment building on Henrot’s previous project Grosse Fatigue (2013) – a film awarded the Silver Lion at the 55th Venice Biennial. While Grosse Fatigue attempted to tell the story of the universe in thirteen minutes, “The Pale Fox” is a meditation on our shared desire to understand the world intimately through the objects that surround us. As Camille Henrot explains: “The main focus of ‘The Pale Fox’ is obsessive curiosity, the irrepressible desire to affect things, to achieve goals, to perform actions, and the inevitable consequences.”
This Fall Gavin Brown’s enterprise will present MULTIPLE PERSONALITIES, an exhibition of new paintings and sculptures by Rob Pruitt. For this upcoming exhibition, Pruitt leaves behind his trademark mixture of pop extravagance and pointed social critique, turning inward to further explore the multiple personalities which have influenced his markedly different bodies of work.
Artist, filmmaker and writer Sophia Al-Maria, who rose to fame with her 2012 memoir The Girl Who Fell to Earth, presents a newly commissioned body of work for her first major exhibition, “Virgin with a Memory”.
The MEF, Museo Ettore Fico, as opening exhibition of the new space dedicated to the master, is pleased to present a retrospective from national collections: more than two hundred works, including oil and tempera paintings, drawings, watercolours and engravings, never displayed before, made in the period from early 1930s to 2004, the year of his passing.
New York, NY… In Luis Buñuel’s 1977 film That Obscure Object of Desire, the hero lusts after a tantalizing and elusive woman. His obsession spirals out of control, clouding his judgment and ultimately leading him to a state of utter submissiveness. Borrowing the title of Buñel’s film, Luxembourg & Dayan is pleased to present an exhibition that explores the dark side of desire, highlighting the often-suppressed connection between an artwork and a fetishized object. The process of object making is here explored as an obsessive endeavor akin in its intensity to erotic infatuation. Each of the artists represented in That Obscure Object of Desire is continuously drawn to forms, processes, and materials with bodily connotations that oscillate between the sexual and the abject, reworked in countless variations. “That Obscure Object of Desire” has been organized by Luxembourg & Dayan director Stephanie Adamowicz and Tamar Margalit.
Liernur’s works are often structured by series that explore the specificity and potential of the picture plane to bring together opposite elements such as high and low culture, feminine and masculine, local and global, amateur and professional.
Manuela Ribaderneira “Varillas de la esperanza” and Yuri Firmeza “Projeto Ruìnas” at Casa Triângulo, São Paulo
Manuela Ribaderneira “Varillas de la esperanza”
In Varillas de la Esperanza, Manuela Ribaderneira uses a typical element of Latin American urban landscape: the unfinished or abandoned construction columns. In Ecuador, her country of origin, these cement and steel columns that protrude from many rooftops have the witty and poetic name of Varillas de la Esperanza (The Rods of Hope). Often people build the first floor of their houses and add the construction columns for that desired second floor in the hope that one day they will have enough money to built it. The money rarely arrives, and The Rods of Hope remain standing, truncated and hopeful sticking out from the roof slowly becoming posts for a washing line or a volleyball net. They become ruins because they seem to have lost their function and have no meaning in the present “but retain a suggestive and unstable semantic potential”(Julia Hall in Ruins of Modernity).
Under the title “Echolalia” Ana Torfs is showing for the first time in her Brussels base a broad selection of the work that she has been developing since the early 1990s. This exhibition offers an exhaustive survey of her works from the last five years, which until now had mostly been shown abroad, and sometimes had been executed for specific contexts. What’s more, with the installation The Parrot & the Nightingale, a Phantasmagoria, WIELS is presenting a world première.
For the release of his new book, Mature Themes (Nightboat Books, 2014), writer Andrew Durbin has curated an evening of readings and performance with artists Harry Burke, Juliana Huxtable, and Jacolby Satterwhite. Artist Jesse Darling will also premiere a new short film.
A new series of works and a new direction marks this inaugural exhibition of Nathalie Djurberg and Hans Berg at Lisson Gallery. Sculptural interventions, projections, neon, film and music are interwoven throughout the spaces in an immersive installation, eschewing video screens or static objects for animated surfaces and pulsating environments. Merging audio-visual and multimedia elements, Djurberg & Berg’s debut show with the gallery melds together as one continuous or total work of art, albeit constructed of discrete events and individual experiences.
Taking its title from an early, immersive sound environment, “White Space” presents a range of historic works by Marina Abramović that have never been exhibited before. Featuring two important sound pieces, previously unseen video documentation of seminal performances and a number of photographs and works on paper, all dating from 1971-1981, the exhibition reveals the artist’s first forays into a performance- based practice dealing with time and the immaterial.
Los Angeles City Hall is reflected onto the window of the Paradise Motel. It serves as an anchor for this traversal through the natural expanse of California. Here, we discover a restrained psychodrama of play, loss, and the transformation of everyday habitats. Music appears across the interiors and exteriors and speaks of limitlessness and longing.
Thomas Zipp “Effects of Stimulus-Range and Anchor Value on Psychophysical Judgement (The Laerdal Rehearsals)” at Galerie Guido W. Baudach, Berlin
Dreams and visions are among the fundamentals of human existence. Quite what they are is one of the oldest questions in the history of mankind. All over the world there is a wealth of evidence for the fascination for the phenomena of dreams and visions – from the very beginnings of human culture right up to the present. And this much is clear from any perusal of the documented reflections on dreams and visions: the central question as to what a dream or vision is remains an historical constant, even if the very immediacy of the question renders it hermetic from the outset. People have always asked where dreams come from and what they are.
Ricky Swallow: Part of my thinking coming to your studio was this idea of sculptural ingredients, what makes a Matt Paweski? The material structure of these sculptures hasn’t changed much in the last few years, yet the forms have really evolved. What would you say about your decision to limit the amount of materials or ingredients that go into a sculpture? It seems like you’ve always worked within certain material parameters, whether that’s the gauge of the metal, just metal, wood, rivets…like that’s your toolkit or something.
Los Angeles-based artist Jennifer West will premiere the first in a series of interactive cinematic installations at this year’s TBA Festival. Originally conceived as a swan song to celluloid, her project presents a screen-less, communal viewing space where audiences can playfully explore the art of projection.
Karma International is thrilled to present Zurich’s first solo exhibition of New York-based artist Judith Bernstein. For nearly five decades, Judith Bernstein has created expressionistic drawings and paintings that directly confront militarism and machismo using both gravitas and humor. Her pocket survey at Karma International includes a selection ranging from the 60s to the present, including drawings from her FUCK VIETNAM series, her large scale SIGNATURE Piece and scatological drawings as well as DICK IN A HEAD drawings.
Suhail’s work stems from the incidental, undocumented minutia of conversations, media, culture, and the everyday. She employs language from these sources to dissect and re-present what may exist in the spaces between exchanges, ideas, historical events and daily occurrences, resulting in works in sculpture, video, digital images, text and drawing.