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
Identikit children in search of their own childhoods line the walls. Children with shit stained hands booty dance through a splintered landscape. A werewolf girl goes for drinks in the night. A decapitated sheep foregrounds naughty children. Spliced elements of pre- and early modernism are layered atop each other. The symbols are shaped to emanate guilt and shame. The tradition of painting is a long history of fabricated images meant to crawl under our skin, and into our psyches.
“The Violet Crab” at DRAF looks to cabaret past and present in over 100 new commissions, live acts and works from the David Roberts Collection, taking residence in an extravagant mise-en-scene designed and directed by artist Than Hussein Clark. “The Violet Crab” at DRAF takes cabaret as a situation for queering the inscriptions of time and space.
Seth Price, Ben Vickers/Holly White, Yuri Pattison, Carola Spadoni, Jennifer Chan, Jaakko Pallasvuo, Ogino Knauss, Riccardo Benassi, Andrea Magnani, Anne de Vries, Harm van Den Dorpel, David Horvitz, Andrew Norman Wilson, Martin Kohout, Roberto Fassone, Alessandro Di Pietro, Ilja Karilampi, Auto Italia, Philip Corner, Luciano Chessa, Marco Dal Pane, Anthony Pateras, Salvatore Panu, Valerio Tricoli
visual coordination: Enrico Boccioletti; project coordination: Daniele Gasparinetti; production: Xing/Live Arts Week
Sam Lipp “I’m An American Citizen, I Know My Rights” and Jessica Sanders “Soft Poached” at Neochrome, Turin
Sam Lipp “I’m An American Citizen, I Know My Rights”
Recollections of Exotic Birds
With Sam Lipp’s exhibition “I’m An American Citizen, I Know My Rights,” I have been given to recollections of exotic birds. These birds, owned by my family over the last 20 years, periodically dart into my thoughts; birds, that impoverished metaphor for empty signifiers.
James Fuentes is pleased to announce “Debris,” an exhibition featuring work by Darja Bajagić, David Wojnarowicz, Haim Steinbach, Lizzi Bougatsos, Nevine Mahmoud and Renaud Jerez.
Ernie Gehr “Bon Voyage”
Ernie Gehr made his first 8mm films in the 1960s and has since made almost 100 films and digital works. Self-taught, he is regarded as one of the masters of experimental cinema. Gehr’s subtle explorations of style and form, together with the poetic sensibility of his work, have had a profound impact on avant-garde cinema.