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Ian Kiaer “Tooth House” at Focal Point Gallery, Southend-on-Sea

by mousse

September 1~2014

Focal Point Gallery is pleased to present ‘Tooth House’, an exhibition by the British artist Ian Kiaer. ‘Tooth House” was first shown at the Henry Moore Institute, Leeds where a new body of sculptures was developed in relation to the gallery spaces. This work is transposed to the spaces here in Southend, alongside a series of new works specifically responding to the building.

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“Solaris Chronicles” at LUMA Arles

by mousse

August 31~2014

LUMA Arles presents the second phase of “Solaris Chronicles”, an exhibition that examines the creative vision of Frank Gehry through a series of artistic interventions and projects that bridge art and architecture. Commissioned and produced by the LUMA Foundation, the exhibition is on view in the Atelier de la Mécanique, located on the 20-acre LUMA Arles campus. The presentation features new contributions by Cai Guo-Qiang, David Lynch, and Rirkrit Tiravanija evolving around large-scale models of a number of the architect’s seminal works. A collaboration among artists, Solaris Chronicles is emblematic of LUMA Arles, a new institution dedicated to creative exchange and artistic production.

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“Dreams That Money Can’t Buy” at MAXXI Museum of XXI Century Arts, Rome

by mousse

August 30~2014

On the occasion of the first edition of “The Independent”, the special project organised by MAXXI Museum of XXI Century Arts in Rome and devoted to the independent actors of the international scene, CURA. is pleased to present “Dreams That Money Can’t Buy”, a group show featuring interventions of 32 international artists, devoted to the building of a partial “encyclopedic atlas”, recalling Warburg. The show is expression of a caothic universe in which images, videos and activities, illustrated works, objects, quotes and real life merge, become active in space, in a replacement device of the artwork. The image replacing the work expresses a tension towards the drafting of a shared imagination, in which classical forms and new languages come together in the flow of time. From the collage wall, pop-up screens—the extension of printed images—randomly project, over a few months, a selection of videos.

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Liverpool Biennial 2014

by mousse

August 29~2014

Elena Tavecchia: Despite often using the common figure of speech, I never thought what could literally happen when A Needle Walks into an Haystack, which is the title of this year’s Liverpool Biennial you co-curate, together with Anthony Huberman. How does this relate to the main focus of this year’s exhibition?

Mai Abu ElDahab: Titles are funny things when they are meant to encompass and reduce such a large project into a sound bite – usually they are meant to say something and nothing at the same time. What we chose was a title that itself would conjure an image and is able to start a story but still leave it open – it is also metaphorical, alludes to an agency and sets a tone but is still about an encounter that’s immediate and in terms that are recognizable. What’s central to the exhibition is the idea of scale, not only how influencing details are a way to effect the bigger picture but how is it possible to think about art’s ability to affect reality, if from the perspective of an individual artist or artwork.  The show is not a demonstration of these ideas but a dense constellation of objects, thoughts and experiences operating on differing plains and through various avenues of possibility.

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“Last Seen Entering the Biltmore” at South London Gallery, London

by mousse

August 28~2014

“The living room of a modern apartment. A sliding glass door opens to a garden of tropical plants lit by colored spotlights. A large painting of a South American jungle cat is hung over the long sofa. A man of forty, dressed in sport coat and slacks, stands by the open doors. He is looking into the garden as a young woman comes into the room. He turns to face her.” William Leavitt, The Tropics (excerpt), 1974

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Petrit Halilaj “I’m hungry to keep you close. I want to find the words to resist but in the end there is a locked sphere. The funny thing is that you’re not here, nothing is.”at Kunsthalle Lissabon, Lisbon

by mousse

August 27~2014

Kunsthalle Lissabon presents “I’m hungry to keep you close. I want to find the words to resist but in the end there is a locked sphere. The funny thing is that you’re not here, nothing is.”, the first solo show of Kosovo artist Petrit Halilaj in Portugal.

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Zbynek Baladran “Dead Reckoning” at Centre d’Art Contemporaine La Synagogue de Delme

by mousse

August 26~2014

Through films, diagrams, drawings and texts, Zbynek Baladran offers various systems of knowledge representation. He uses these forms to convey concepts and ideas, but it is also a way of giving our senses more direct access to them, as well as a means of combining philosophical questions with poetical and visual modes of transmission.

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James Lee Byars “1/2 An Autobiography” at MoMA PS1, New York

by mousse

August 25~2014

MoMA PS1 presents the most comprehensive museum survey of James Lee Byars (Detroit, 1932–Cairo, 1997) organized in North America since his death. The exhibition, which includes documentation and works across a range of mediums and occupies the entire second floor of MoMA PS1, confronts the absence of Byars himself, and more generally highlights the inherently incomplete summary that a retrospective offers of an artist’s life.

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Annika Larsson “Introduction” at MACRO, Rome

by mousse

August 24~2014


The MACRO – Museo d’Arte Contemporanea Roma presents the first solo show to be held at an Italian public institution featuring Swedish artist Annika Larsson. The exhibit presents the artist’s most recent works, with two videos: Blue, 2014 and E.A.V., 2011, together with an extensive installation which further develop the critical discourse that underpins her whole practice. “Introduction” is a project undertaken in collaboration with Rome’s German Academy of Villa Massimo, where the artist is currently in residence through December.

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Maria Lai “To Sew Up the World” at MAN, Nuoro

by mousse

August 23~2014

The section of “Ricucire il mondo” (To Sew Up the World), curated at MAN by Barbara Casavecchia and Lorenzo Giusti, focuses on the maturity of Maria Lai, from the early 1980s to her death in 2013, by analyzing the dense web of relations developed by the artist with the world beyond her studio.

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Helidon Gjergji “e-mages” at The Albanian National Gallery of Arts, Tirana

by mousse

August 22~2014

The Albanian National Gallery of Arts is pleased to present to the public in its temporary exhibitions wing the exhibition “e-mages” of the Albanian artist Helidon Gjergji. This is the first personal exhibition of the artist in the National Gallery and is curated by Artan Shabani, the Director of the Albanian National Gallery of Arts.

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Yang Fudon at Capo d’Arte, Gagliano del Capo

by mousse

August 22~2014

From its special observation point, its position de finibus terrae (“the End of the Land”), Capo d’Arte 2014 is renewed, looking on unknown art worlds and makes the exploration of art scenes in other continents its target for the future.

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Yung Jake “New” at Steve Turner Contemporary, Los Angeles

by mousse

August 21~2014

Steve Turner Contemporary is pleased to present “New”, a solo exhibition featuring sculpture by Los Angeles-based artist Yung Jake.

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“Clear” at Gagosian Gallery, Beverly Hills

by mousse

August 21~2014

“I was no longer in the water but rather I was high above the water and looking down upon it. The sky, that had been so grey and lowering, was iridescent with indescribable beauty. Waves of ecstatic and delicate color vibrated around me and lulled me to a sense of peace beyond comprehensions.” —Case No. 562—Robert Kyle Beggs. Case-Book of Astral Projection, 545-746, by Dr. Robert Crookall, 1972

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Otto Piene “More Sky” at DeutscheBank Kunsthalle and “The Proliferation of the Sun” at Neue Nationalgalerie and Berlin

by mousse

August 21~2014

The Nationalgalerie and Deutsche Bank KunstHalle dedicate three spectacular projects in Berlin to the artist Otto Piene: an exhibition of the visionary early work (Deutsche Bank KunstHalle, July 17 – August 31, 2014); a new presentation of the seminal slide work “The Proliferation of the Sun” (Neue Nationalgalerie, July 17 – August 31, 2014); and a Sky Art Event on July 19 in the outdoor area of the Neue Nationalgalerie mark the beginning of the Berlin art summer with Otto Piene.

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If Money Talks, What Language Does It Speak?

by mousse

August 20~2014

#OneMoreTime

Jimmie Durham has an interesting theory about money (and about art aimed at making money). Basically, he asks: are we sure that the abominable, rapacious way that part of the world behaves with the rest of the world is the result of human nature? isn’t it likely instead that this ineluctable greed is the nature of money that has infiltrated and infected the nature of humanity? A broad, all-embracing strategy that moves from weighty issues to the marketing ploys of Ronald McDonald—an amorphous, emotionless creature—who has won children over to his side.

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Jimmie Durham: Waiting To Be Interrupted. Selected Writings 1993-2012

by mousse

August 20~2014

Jean Fisher, ed.
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Durham’s primary format is storytelling, central to which is the ability to communicate experience. Edited by Jean Fisher, Selected Writing is the second, long-awaited collection of the artist’s texts, produced and released in a twenty-year span. If the forms of address in the texts aim for simplicity, the use of language—peppered with puns and neologisms and digressions into multilingual etymologies—demonstrates a complexity that persistently defers our demand for easy interpretation. As Durham frequently implies, his subversion of textual logic is intended to liberate words as material from their entrapment in thoughtless conventions (blind belief), just as his play with found materials is intended to free art from its capture in the deathly inertia of monumentalism—its connection to architexture.

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What Do You Need Me For?

by mousse

August 19~2014

#OneMoreTime

There is no denying that the digital revolution has completely transformed the traditional print mediascape in which art criticism had been embedded for centuries, and it has also led to a shift in priorities when it comes to writing critically about art and culture at large. The expansion of art world networks, along with the pressures of social and professional obligations, and the possibility for instant feedback via direct audience interaction and intervention, can lead critics to opt for a more consensus-driven approach to cultural criticism, which de facto accepts and even promotes the notion that making judgments is inherently specious, on a philosophical level, and inherently problematic on a professional one. Writer Vivian Sky Rehberg advocates for independent voices, healthy doses of friction, taking things less personally, in order to encourage a more dynamic and diverse dialogue around our cultural interests. Everyone seems to be talking, but is anybody actually listening?

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