Given the enthusiastic response to the first edition of Èdra, this curatorial project continues and expands its scope. This multi-venue exhibition includes the participation of foreign academies, international cultural institutes and embassies in Rome. The exhibited artworks of both Italian and international artists, even though situated in different physical locations throughout the city, follow one main theme selected by a different curator each year.
Galerie Rolando Anselmi is delighted to announce “Firma Matar,” the first solo show by Santiago Taccetti in the gallery space in Berlin. For this occasion, the artist will present a site-specific installation, which extends in both exhibition rooms and revolves around the idea of standardization and re-appropriation. Using materials reminiscent of the past, which like a familiar smell might conjure up a blurry memory of a collective unknown, the works dwell in that fuzzy space between fact and fiction. The pieces seem to revolve around a combination of instances or things you swore you had seen so many times before.
For his first exhibition at Valentin gallery, “Poison IV,” Brian Kokoska offers an installation that unfolds like a monochromatic total environment, home to a set of new paintings and sculptures. Initially limited to the plane of a painting, and then gradually extended to the exhibition space, the coloured tonality chosen for each series of paintings—in this case a swampy pale green and a ultimate-black—spreads its colour over the walls, carpet and ceiling, but also through sculptures and assemblages created from found items. All of the elements that make up this environment are merged and homogenised by an all-over chromatic, plunging the viewer into a layout whose spatial informations—depths, perspectives, scales, thickness, volume—are diminished and altered.
This show involves lettuce. Thin, whispers of green leaves interlacing and folding together to become layered heads of history. This show is concerned with their history. The leaves start as seeds, or images or events or places in time, and are then watered, germinated, distorted, reproduced, harvested, and lightly tossed in oil and public opinion. Salted to taste.
Charlemagne Palestine is a Gesamtkünstler. For 40 years he has acted as a musician, composer, performer, visual artist and as such he has been able to question the frames and rules of any medium and language he employs. Avoiding existing definitions is a central point of Charlemagne’s practice as well as that of other artists of his generation like Tony Conrad, Jack Smith or Stuart Sherman. Any attempt to place him within the limits of a given category would thus be like trying to catch hold of a fish with one’s hands.
Ten years after their debut at Giò Marconi, Nathalie Djurberg and Hans Berg have returned to the gallery space and have transformed it into a mysterious landscape inhabited by colourful bird sculptures on tables and enigmatic black and white waterfall animations.
With “3 ‘Easycollage’ and 6 ‘Collage-Truth’”, Thomas Hirschhorn transforms the MAN Museum’s project room into an uncomfortable space full of provocative suggestion and visual contrasts. The project, curated by Lorenzo Giusti, proposes a series of large-scale works and other smaller ones, created between 2012 and 2015, in which fashion photographs live side by side with war photos.
The exhibition “System of a Down” gathers together 47 artworks, by 27 artists, from different nationalities, generations and cultural backgrounds.
The first intervention in the space involved tracing a grid which contrasts with the gallery’s architecture. The grid imagines a modernist development of Dublin based on the module of St. Patrick’s Cathedral. The intersection of the grid with the gallery’s floor plan produced areas that the exhibition organizers named “rooms”.
“Cosmic Black Body Radiation – A Measurement of Excess Antenna Temperature at 4080 Mc/s” at Udolpho, Berlin
“With all this information hidden within it, the cosmic microwave background radiation, or CMB, was the astronomical equivalent of the human genome. Just as the genome bears all of the data required to manufacture and operate a human being, the microwave background encodes all of the information—all the initial conditions and physical laws—for making and operating a universe.”
The group exhibition, inaugurated to coincide with Milan Expo, explores the idea that a British artist (not necessarily British by birth but the artist must be living in Britain) and an Italian artist have of Italy. Perhaps Italy is the only country in the world to be so hated and yet, at the same time, so loved by its own population.
“Follow Me” is the title of Susan Philipsz’s new solo show. Set in the historical centre of Genova, the exhibition presents a new work inspired by the yacht Elettra, Guglielmo Marconi’s floating laboratory, together with a selection of six works realized between 1999 and 2011.
Among the most significant artist of her generation, Philipsz creates sound installations (recordings of the artist’s own voice as she sings existing songs a cappella) that explore the psychological and sculptural potential of sound.
LIVE from Stockholm
Friday 25 September 2015, 15:45 (CET)
Frances Stark in conversation with Negar Azimi
The Luigi Pecci Center for Contemporary Art is organising the first forum in Italy dedicated to Italian contemporary art. This is a unique initiative in the Country, bringing together a select group of art professionals for a collective, soul-searching examination of numerous critical issues.
The First Mark is a poetic, immersive observation of Peter Nadin’s Old Field Farm.
Both a diary and a poetic reverie, the film opens the doors to Peter Nadin’s activity in which art and agriculture come together. By following the documentation of the farm’s activities—chicken feeding, bee-hiving or pig breeding—we are taken within Nadin’s extraordinary thoughts and visions.
Gladstone Gallery is pleased to announce “Trinity and Powers: In Search of Breadfruit,” an exhibition of new wall works and sculptures by Kathryn Andrews. In this exhibition, symbols of Hollywood, leisure, and consumer culture collide with political sloganeering and campaign conceits, arriving at a complex and often humorous narrative of celebrity, politics, imperialism, and individual agency.
Known for her immersive 3D video installations that variously incorporate handcrafted objects with found materials, Baga engages individual perception in a technological economy characterized by accelerated attention spans. Often layering subjects, mediums, and themes through and against one another, Baga’s multimedia installations push perceptual experience to the foreground, staging a dialogue between objects in real and digitized space.
Barbara Hammer’s “Lesbian Whale: Early Drawings and Paintings” presents previously unseen works on paper from 1968 to 1970 alongside her first five films, all of which were made between 1968 and 1972. Hammer also completed a new film that animates her early notebooks with voiceover commentary by friends and peers. These previously unseen drawings and paintings were made at a crucial turning point in Hammer’s early career, both before and after she left her husband to pursue a career in art and film. In these works, the first seeds of Hammer’s later film and performance works emerge alongside self-portraits, sketches, notes on future films, and drawings of the world around her.