At the beginning of the 1990s, Martin Kersels experimented with his body. As an active member of the group SHRIMPS (with Pam Casey, Gail Gonzalez, Steven Nagler, Ryan Hill and Weba Garretson), he performed a series of familiar and simple gestures: holding, throwing, falling, kissing, cadencing, rocking; performances that oscillated between radicality and the absurd, both transpiring through the photographs taken during the performance. Simultaneously, he developed a 3-dimensional work guided by movement. Inspired by objects and the body language of daily life, Martin Kersels builds not only staged spaces where body and machine interact, but also animated sculptures producing incongruous actions and sounds. The bizarre dimension of his work is only a facade, his plastic work is in fact underpinned by a conceptual and critical reflexion on our relations to the world and society. The constant discussion between bodies, space, and the object is an integral part of his practice.

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Stuart Shave/Modern Art is pleased to announce an exhibition of new work by Lara Schnitger. This is the third solo show of the Los Angeles-based Dutch-born artist with the gallery. Schnitger’s signature works – sculptures, paintings and banners made of fabric – are brought together in this exhibition with the artist’s recently launched line of clothing Sister of Arp.

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kaufmann repetto is delighted to announce Pae White’s fifth solo exhibition at the gallery. Continuing in her exploration of diverse materials, techniques and media, …and then you know what? presents two site-specific installations along with a large scale sculptural work that reconfigure the gallery’s architecture, while playing with themes of tradition and history.

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Mamco presents a retrospective of work by the French artist Philippe Thomas (1951-1995), some of whose work is part of the museum collection. Displayed on all four floors of the building, it is divided into three sequences.

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The largest Polish presentation of Paulina Ołowska’s work to date, the exhibition shows both its thematic diversity and the various working methods employed by the artist. It features works of painting, sculpture, stage design, installation, neon light, assemblage, drawing, collage, textile, as well as a new installation, created specially for the exhibition: a fashion store with a collection by the brand Clemens en August. In her practice, Ołowska explores the issue of liaisons between the historical avant-garde and the present, creating a melange of arts: high-brow with applied and popular. She is preoccupied with contemporariness and topicality, which she confronts with utopian visions from the past, encouraging the viewer to reflect on forgotten aesthetics and ideologies.

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For some years Belgian artists Jos de Gruyter and Harald Thys have been present on the wider stage of the international art scene. They have been producing a unique epic-absurd theatre consisting of video works, photography series and sculptural installations. In February 2014 they will present “Das Wunder des Lebens” (The Miracle of Life), their first large solo show in Austria. Its main element is a large-scale installation which the artists describe as following: “We think of the big exhibition space as a place of stillness. You can only hear the noise of the water plashing from the fountain and you can see 400 (silent) drawings. There are no colours in the exhibition. Only black and white”.

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Far and High is the inaugural group exhibition at FAHRENHEIT — an interrelated residency program and space dedicated to exhibitions, performances, film programs and talks, initiated by FLAX (France Los Angeles Exchange) and developed by director and curator Martha Kirszenbaum.

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Ceal Floyer tests, teases and skirts around the boundaries of what art can or should be in her first exhibition at Lisson Gallery in Milan, which coincides with a major presentation of her works at Museion in nearby Bolzano. Floyer’s 2008 work, Taking a Line for a Walk, in which a machine that creates the white lines on sports fields is driven around and takes its title from Paul Klee’s assertion in the introduction to his Pedagogical Sketchbook of 1923 that a drawing should be: “An active line on a walk, moving freely, without goal. A walk for walk’s sake” Floyer’s own meandering line through space – a performance and a sculpture, as much as a drawing – will be recreated throughout the galleries, drawing visitors downstairs. A rectangular swathe of grass in the garden, entitled Greener Grass (2014), will indeed – as the old saying goes – seem brighter than its counterpart in nature and more vivid than real life.

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This exhibition features new photographic works by acclaimed Vancouver artist Stan Douglas. Through synthetic and artificially constructed processes Douglas manipulates new camera devices to produce pictures without a lens. Responding to the wide circulation of immaterial images in digital culture the artist reveals an acute awareness of the social impact of media and optical technologies.

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Friday, March 14, 2014

Hermosa Beach, CA

Dear Michael,

I’m back… from swimming pools and American marble: an autumn of daydream flips where alipslide is also known as disaster. As it happens, everything continues to happen.

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Marianne
Boesky
Gallery
is
pleased
to
present “
Saturnine
Swing”,
an
exhibition
of
new
works
by
Matthias
Bitzer.
”Saturnine
Swing”
is
the
artist’s
first
solo
exhibition
at
the
gallery
since
joining
in
2013,
and
his
first
solo
exhibition
in
New
York.

For
”Saturnine
Swing”,
Matthias
Bitzer
will
use
both
the
uptown
and
Chelsea
gallery
spaces
to
present
his
drawings,
paintings,
sculptures,
and
multi-part
installations,
ultimately
engaging
the
two
spaces
and
the
works
contained
within
to
achieve
his
larger
project:
a
metaphysical
space
that
weaves
history,
memory,
and
narrative
into
a
multi-­layered
realm
that
addresses
the
issues
activated
by
our
comprehension
of
reality.

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“The present, the here and now experience – it’s such a dumb and impossibly slippery thing. What we experience is only a fragment of what we are aware… and what I am interested in is the stuff that fills the gaps.” (Trisha Baga, interviewed by Jenny Jaskey, Mousse Magazine, 2012)

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Last days! Cathy Wilkes, “Sea of Galilee”. Presented by Mousse and The Modern Institute.

.

until Saturday, 2.30—7pm

at Fonderia Artistica Battaglia, Via Stilicone 10, Milan

I don’t know how I found myself in that place. Probably the unconscious again directed the course of my journey. I only know that I stood looking at the sight of the monument for a long time. Suddenly I succeeded in finding a narrow slit to escape from all these historical facts and the journey started. (1)

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Chisenhale Gallery is pleased to present an ambitious new commission and the first UK solo exhibition by French, New York-based artist, Camille Henrot (b. 1978). Entitled “The Pale Fox”, this new installation develops from Grosse Fatigue (2013) – the film Henrot presented at the 55th Venice Biennale, 2013, for which she was awarded the Silver Lion for most promising young artist. Demonstrating the breadth of Henrot’s output, this exhibition comprises an architectural display system, found objects, drawing, bronze and ceramic sculpture and digital images.

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Steve Turner Contemporary is pleased to present “Image DNA”, a solo exhibition by Melbourne-based artist Michael Staniak, featuring paintings that seamlessly combine attributes of analog and digital processes. Although Staniak creates the paintings mostly by hand—he builds up texture with uneven layers of plaster and then paints the surface in a range of ways—the paintings bear an uncanny resemblance to flat digital prints. Indeed, one must view the works up close to perceive any texture or depth, and as such, they behave like contemporary trompe l’oeil paintings that baffle the senses. Some paintings do however utilize digital methods of output and in so doing create a dialogue between the two modes of production.

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Haroon Mirza “Random Access Recall” at Le Grand Café – Centre d’Art Contemporain, Saint-Nazaire

The leitmotif running through Haroon Mirza’s work is the revelation of the world’s latent sonic potential and the clarification of its reading, deployed in composite installations as sculpted spacial soundscapes. Drawing on the sociologist and philosopher Marshall McLuhan’s theories of communication and his writings on acoustic space, the artist contests the privilege accorded to visual space over sound material as the dominant principle of perception. This universe of intermingled temporal layers is populated by numerous accessories: worn out everyday objects being used to produce image and sound, retro furniture, dissected analogue instruments; but also YouTube videos, blinding LEDs, and electronic equipment.

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Bortolami is pleased to present a three-person exhibition entitled “First lines, like first dates, or the first bite of dessert, can be deceptive”, organized by Christine Messineo. The title of this exhibition is taken from a text by Ann Beattie in which she discusses the inherent difficulty of beginnings, the first line. Where to start? Beattie nullifies the issue of first impressions by allowing her beginnings to remain elliptical, making the encounter unstable. The reader enters a story mid-conversation, mid-scenario.  In this exhibition Ann Veronica Janssens, Kitty Kraus and Daniel Steegmann Mangrané present works where the encounter is not the reveal. First looks cannot be relied upon.

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