Selected by Florian Ebner for the German Pavilion at the forthcoming Venice Biennale, Tobias Zielony is now showing eight videos made between 2008 and 2014, after the exhibitions in 2007 and 2010, which were held in the former premises in Via Solferino in Milan, and in Naples respectively. “Vele di Scampia” was created for the 2010 exhibition in Naples, the city that has influenced him more than any other metropolitan area, and is being shown again on this occasion. Consisting of 7000 photographs taken at night with a digital reflex camera and mounted at artificial speeds, it adopts the visual language of film to convey the difficulties faced by those who live in and frequent these places. His artistic practice combines a social and documentarist approach with a more conceptual one, describing the living conditions of adolescents in the world that they inhabit on the fringes of society. Tobias Zielony has been round the world to tell the story of the dark side of adolescence and has portrayed the night-wandering teenagers of Los Angeles, the little Manitoba Indians in their reserves, the squalor of Knowel West in Bristol and the northern districts in Marseille, life in the Halle- Neustadt complex made by the DDR, kids in the “Vele di Scampia,” and young people in Ramallah. Most of his sitters pose proudly, imitating film and rock stars, illustrating their dreams and aspirations, and conveying a mythical vision of themselves, yet their melancholy looks reveal the chasm between illusion and reality, between mythical fantasy and the world they live in. Right from the outset, his artistic research has adopted a narrative and visual approach that is typical of cinema, heightening the gap between the real and the unreal, and between what goes on behind and in front of the lens.
“You will find me if you want me in the garden” and Donna Huanca “Water Scars” at Galerie Valentin, Paris
“You will find me if you want me in the garden”
Alessandro Agudio, Stefania Batoeva, Sol Calero, Simon Dybbroe Møller, Carson Fisk-Vittori, Ditte Gantriis, Pakui Hardware (in collaboration with Jeannine Han), Daniel Keller, Spencer Longo, Matthew Smith, Anna Virnich, Andrew Norman Wilson
The exhibition springs for a vision of political reality as an intricate system of agents and agencies where information, events and narratives intersect and function, often eluding our efforts to understand them. This image of complexity could easily describe the sensations of an individual faced with everyday reality and news. Rare, revealing glimpses into hidden financial structures, disclosures of global surveillance or evidence of geopolitical rivalry only reinforce the impression of the presence of impenetrable but rational strategies unfolding, concealed from public view and general awareness. The exhibition “Sources Go Dark” questions policies behind the logic of secrecy and withdrawal, transparency and truth, image and cultural production, and draws upon possible strategies employed in contemporary art production.
Erica Baum, Maurice Blaussyld, Alejandro Cesarco, Isabelle Cornaro, Haris Epaminonda, Élise Florenty et Marcel Türkowsky, Mark Geffriaud, João Maria Gusmão et Pedro Paiva, Benoît Maire et Étienne Chambaud, Ralph Eugene Meatyard, Florence Paradeis, Tobias Rehberger, Jimmy Robert, Bojan Šarcevic, John Stezaker
Céline Condorelli “bau bau” and Juan Muñoz “Double Bind & Around” at Fondazione HangarBicocca, Milan
Céline Condorelli “bau bau”
“bau bau” is the first exhibition devoted to Céline Condorelli that includes the many-facets of her work, such as sculpture, installation, display devices, research, writing and teaching; her comprehensive approach draws from Italian traditions of art and design, such as that of Bruno Munari, as well as conceptual art and relational art of the 1990s. The artist conceived the exhibition as well as its interpretative framework, intervening in all the aspects of the institution through the various objects that narrate it (such as texts, captions and graphics). Condorelli’s work is concerned with how all human action takes place amidst countless structures, or more specifically what she has termed “support structures”—whether emotional, legal or physical. These structures are mostly taken for granted, and therefore often seem invisible. Support Structures is also the title of one of her publications, which has been reprinted for the occasion by Sternberg Press. She says “there’s a whole world in the shadow of the bottom line.”
slavishly, she surrendered
to what felt like imminent doom,
For Part Two of The Artist’s Institute season with Carolee Schneemann, the Artist’s Institute presents a new three slide-projector installation of Schneemann’s ABC—We Print Anything—In The Cards (1976–77). The work is made up of 156 index cards, each with an accompanying image card, that document the emotional chaos of two tangled relationships: Schneemann’s breakup with Anthony McCall and a new relationship with Bruce McPherson. The cards are color-coded to organize advice from friends, dialog amongst the partners, and excerpts from Schneemann’s diary and dreams. Shuffled by the slide projectors, the cards present a non-linear narrative whose complexity and contradictions mirror the shifting, inter-connected relationships that are their subject. ABC revisits Schneemann’s enduring interest in reflexivity, autobiography, and intermedia installations.
“The arcades and interiors, the exhibitions and panoramas are residues of a dream world. the utilization of dream elements in walking is the textbook fexample or dialectical thinking. For this reason the dialectical thinking is the organ of historical awakening. Each epoch not only dreams the next, but also, in dreaming, strives the moment of waking.” (Walter Benjamin)
“Into the Interior” presents a constellation of new and recent works by Katarina Zdjelar. By bringing archival and museological material into an artistic dialogue with remnants of early 20th century popular and promotional media, Zdjelar’s works instigate a space in which the viewer is situated within this interplay between the historical manifestation of power and contemporary residual that remains of this legacy.
“How to ask better questions?” è un interrogativo che non prevede una risposta ma il ripensamento dell’atto stesso del domandare. E’ una formula impiegata nel decision making, attività centrale nel management contemporaneo, ovvero quell’insieme di processi cognitivi risultanti dalla selezione di un’azione tra diverse possibilità alternative.
Gli anni in cui la disciplina del decision making si intensifica e si afferma, e i diversi campi del sapere cercano di razionalizzare ciò che porta all’atto del decidere, sono i medesimi in cui le strategie globali legate ai beni di consumo producono oggetti che sembrano favorire una progressiva esautorazione dell’utente dal pensare.
Di questo fenomeno, sempre più pervasivo, ne è esempio emblematico la Magic 8 Ball, un giocattolo predittivo commercializzato nel 1997 e composto da una sfera per biliardo che, se stimolata con le mani, produce una serie di risposte o soluzioni corrispondenti presumibilmente al volere inconscio di chi la agita. Oggetto di conforto dalle proprie insicurezze più che di emancipazione, la Magic Ball viene abilmente decostruita da Julie Béna.
Cory Arcangel “Hot Topics” at Lisson Gallery, Milan and “This is all so crazy, everybody seems so famous” at Palazzo della Ragione, Bergamo
Stella Succi: I heard you were fond of Gigi d’Agostino. Well, I’m a huge fan and I went to two concerts of him this summer. It’s kind of weird that you like Gigi d’Agostino!
Cory Arcangel: I’m a fan of “L’Amour Toujours”; that’s one of my favorite songs of all time. And when I got to Bergamo a couple weeks ago, every time I got into the car I kept asking them to turn on the radio, because it was my dream to hear that song on the radio in Italy. And just two or three nights ago I was in a cab which actually happened to be a great cab—you know, tinted windows, Air Jordan stickers all over it, cab driver with neck tattoos—and he was listening to the radio and that song came on.
Olivier Castel, Ian Law, Florian Roithmayr
Taking place in both gallery spaces, the exhibition “Things That Tumble Twice” looks at the sphere of duality. It recalls ideas of juxtaposition, complementarity and interrelated parts (i.e. matter and its absence, light and darkness, signifier and significant, thesis and antithesis, animate and inanimate objects, 0s and 1s, yin and yang …). On the other hand, and at the same time, the exhibition in its entirety is also informed by the principle of multiplicity as becoming and unity—as something that can not be described as the sum of its parts or qualities but simply as an irreducible whole (i.e. complex systems, hermeneutic circle, organicism, life, a cloud…).
“Mïrka designates herself as a ‘painter of images’ and gives life to an erotic, unique and fantastical world, simultaneously forceful, subtle, fanciful, disturbing, funny and personal, flirting with a dark eroticism… powdered in pink.”
The implication of the body and the physical is often decisive and sometimes precedes reflection to leave room for interpretation. even if drawing has an important place in her work of using digital tools as producers of images and of sounds, while also integrating her research following her artist residency at L’Appart in Poitiers, Mïrka Lugosi, invited artist for a project-room at the Centre régional d’art contemporain, intends to present part of her completed work or work created or started during this stay with a large collection of drawings and photographs associated with new creations produced for the occasion.
“Art In The Age Of…Energy and Raw Material”, Willem de Rooij “Character Is Fate” & “In Light of 25 Years” at Witte de With, Rotterdam
“Art In The Age Of…Energy and Raw Material”
With: Nina Canell, Céline Condorelli, Mikhail Karikis, Nicholas Mangan, MAP Office, Marlie Mul, and Anton Vidokle.
The first installment of “Art In The Age Of…” focuses on how forms of energy and raw material shape, or are narrated by, contemporary artistic practices. Since early times art objects have drifted with the motion and transformation of raw materials like wheat, minerals, and cotton. How does contemporary art relate to geothermal energy? To oil, gas, or alternative sources such as the sun? Could it even fly on rays of cosmic energy?
Gregg Bordowitz, Tony Conrad, Brice Dellsperger, Julia Heyward, Antonio Mak, Josephine Pryde and Stephen Sutcliffe
“Container and Contained” reflects on inwardness and authority. At its centre is a new structure: a purpose-built space to be configured and reconfigured for various iterations of the live moment. The space, designed by Simon Jones Studio and dedicated to performance and performativity in an expanded sense, opens its oneyear programme with a specifically commissioned work by writer and artist Gregg Bordowitz. Part-performance, part-lecture, Bordowitz’ work reflects on terms of interiority and entrapment, and follows his long-running concerns with the structure and politics of writing and speaking from inside oneself.
Barbara Kasten “SET MOTION” at Bortolami Gallery, New York and “Barbara Kasten: Stages” at ICA, Philadelphia
A restlessly inventive and experimental artist, Kasten began making art in the 1970s, engaging with Bauhaus pedagogy, Constructivism, the California Light and Space Movement, and Postmodern architecture and design. Her work sits at the intersection between photography, sculpture and installation, and this exhibition at Bortolami brings together two important bodies of photographic works—a series of “Amalgams” from the 1970s and a new series of large “Transpositions”—as well as a new video installation, Sideways.
“Existence is not something which lets
itself be thought of from a distance;
it must invade you suddenly, master you,
weigh heavily on your heart
like a great motionless beast
—or else there is nothing at all.”
Another act of appropriation is the title of the show: “Querelle of Brest”. One could be tempted to apply gender theory via Jean Genet and Rainer W. Fassbinder, or perhaps he’s simply pointing to an interest in the city of Brest and its cultural heritage, but that would be to fall into the artist’s trap. On closer inspection the repetitive, obsessional and radical aspect of the whole series points to something more treacherous, a dead-end even. This doesn’t exclude the fact that the boundaries of subjectivity (but resolutely not of intimacy) are obviously at stake in Fredrik Værslev’s works.
With Ilja Karilampi, Leslie Kulesh, Isaac Lythgoe