The neck connects head to body, and can be seen to represent the gap between thoughts and feelings, or figurative and abstract. Like any point of connection it is also a point of weakness and vulnerability, a narrow avenue through which we swallow and breathe.
Oliver Laric and Hilla Toony Navok “Rounding Up the Hours” at The Center for Contemporary Art, Tel Aviv
Difference and repetition are common subjects for Laric, especially when looking at the productive potential inherent to reproduction. The copy carries with it the catalysts for its duplication, alteration, and change. It is an imprint of the process of its creation, a fossil of its own evolution. The precursor is no better or worse than its reproduction, but rather both can be valid entities in a multiplicity that denies the hierarchy between the two in favor of endless variation.
Katinka Bock, Paolo Gioli, Jean-Baptiste Maitre, Kathrin Sonntag, Paolo Meoni, Runo Lagomarsino, Emanuele Becheri, Margot Quan Knight, Luca Rento, Danilo Torre
Matthew Brannon, Sascha Braunig, Mathew Cerletty, Barb Choit, Peter Halley, Marc Hundley, Nicholas Krushenick, Jonathan Lasker, Elad Lassry, Megan Marrin, Przemek Pyszczek, Michael Rey, Peter Shire
Fabrizio Bellomo, Anne-Lise Coste, T-Yong Chung, Nicoletta Dalfino Spinelli, Marjolijn De Wit, Gregory Forstner, Sandro Kopp, Eva Marathaki, Tiziano Martini, Sebastiano Mauri, Maria Morganti, Agne Raceviciute, Jani Ruscic, Giulio Squillacciotti, Serena Vestrucci
The imagery of Alberto Fiori sets out to redefine the visual vocabulary that lies between the digital and analog languages; a dichotomy the artist chooses to grasp by rejecting the media hybrid in favor of a hypothesis of unprecedented convergence, in which the two codes interact without undermining their separate natures. The digital paintings and dye paintings represent the pictorial premises of this vision.
Sergio Camargo “Mármore”
“Perhaps innate, these structures derive from their own anteriorities or interiorities, however you wish… They are only what they know how to be.” Sergio Camargo
Pavilion, the UK’s first feminist photography center, founded in 1983 by a group of women artists, art historians and cultural workers in Leeds, is the surprising subject of a new film made by two male artists: Scottish experimental filmmaker Luke Fowler and English multidisciplinary artist Mark Fell. Fowler, a 2012 Turner prize nominee, is known for his unique approach to documentary filmmaking, in which he often applies microsocial analysis to marginal moments in British cultural history. He has collaborated with many musicians, including Richard Youngs and Lee Patterson, and can sometimes be seen performing live with handmade electro-acoustic instruments and a suitcase synthesizer. Fell is known for his unique, somewhat minimalist sound installations. It will be interesting to see how the musical backdrop of these two artists affects the interpretation of a relatively brief moment in the history of photography, in which patriarchal control over image production in 1980s England was challenged.
Ben Cain’s practice unfolds across many levels, including sculptures, installations, videos, performances, language based works, publications, interactions and interventions. His multi-faceted approach, which is often brought together in installations, captures the viewer through an encounter with space and objects, their material, size, colour and pattern, and eventually hypnotic repetition. The work also points at the memory or trace of an object—and a first hand, tactile experience of handling it. Highlighting the spectator’s role in the development of subject and object, oscillating in between the physical and the imagined, and enquiring into the connections between seeing and doing, his work opens up a space in between these dualities. Rather than locating himself only within one side of these terms, Cain chooses to claim the “and” that rests in-between. This “and” is comprised not of oppositions, but a philosophy of relations.
Why is the show called Generation Game?
The show is about generations and gambling. Also there was a TV show with the title “The Generation Game” which was really popular in the 70‘s & 80‘s.
The other day I needed to pee. I went into a Starbucks in the East Village and immediately noticed that it was uncharacteristically quiet. I hurried towards the bathroom and saw that there was no line. As I reduced my pace in preparation for a full stop, already more than content with the lack of hassle, I saw from a distance a green shimmer underneath the doorknob and I realized that the restroom was not occupied. Incredulously I walked straight into this New World equivalent to the public toilet and closed the door behind me. Standing there in the huge one-person unisex bathroom I looked down at my vintage monochrome Nike x Daves Quality Meat high-tops and I thought about Naomi Klein. I thought, “Hey! Naomi! Where are you now?”
Hans Peter Feldmann, Joe Hamilton, Anna Kristensen, Mario Milizia, Taisuke Mohri, Macoto Murayama, Shuichi Nakano, Wieland Payer, Annalisa Pintucci, Wang Qiang and Lorenzo Vitturi
Caroline arranged to meet me at the Louvre to look at the pieces she would be showing during “Bal”, organized in Pistoia.
We met up under Rubens’s Exchange of the Two Princesses of France and Spain. It was right there, flooded with divine light, beneath a cornucopia overflowing with drops of gold, mother-of-pearl pearls and roses, that we would imitate the gesture of agreement of the two princesses, and finish writing this text.
Murphyʼs sculptures are like drawings in space: the play between line and volume, space and lightness, is central to his work. These qualities inform his exploration of patterns that define and re-present the patterns integral to organic forms. Furthermore, the works engage with the microcosm and macrocosm of structures found in nature, acting like a lens that zooms in and out of woven fabric, foliage, or cells, revealing hidden or invisible structures, while remaining essentially abstract.
Eva Koťátková takes as her central theme the individual’s relationship to normative social structures and institutions, such as the government, school, the family, and the hospital. An obsessive collector of historical books on psychology, medicine, and social science, images culled from these sources appear time and again in her installations, collages, and drawings. While frequently appearing grotesque, Koťátková ‘s work often strikes a poetic or darkly humorous note. Along with Czech Surrealism and Absurdist fiction, the artist counts slapstick and Charlie Chaplin among her sources of inspiration. Throughout her work, she gives form to the invisible, disciplining force exerted by rules, conventions, and rituals.
Jean-Luc Blanc, Whitney Bedford, Judith Bernstein, Marvin Gaye Chetwynd, Lothar Hempel, Celia Hempton, Hedwig Houben, Tatiana Rihs, Walter Robinson
The exhibition entitled “The Big Game” is a non-linear trip through 35 years of artistic practice. Focusing exclusively on works on paper, “The Big Game” begins with drawings from the early 1980s—done for the design group Memphis of which Du Pasquier was a founding member—and follows her creative journey until today.
Duncan Campbell, Lia Forslund & Franek Wardynski, Ximena Garrido Lecca, Han lshu, Toril Johannessen, Gabriel Kuri, Joao Vasco Paiva, Heidi Voet, Hannes Zebedin