“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
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
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.
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.
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.
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.
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.
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.
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.
Steve Turner Contemporary is pleased to present “New”, a solo exhibition featuring sculpture by Los Angeles-based artist Yung Jake.
“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
Otto Piene “More Sky” at DeutscheBank Kunsthalle and “The Proliferation of the Sun” at Neue Nationalgalerie and Berlin
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.
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.
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.
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?
Fondazione Prada presents “Art or Sound”, curated by Germano Celant, at its Venetian venue, Ca’ Corner della Regina. Conceived as an investigation of past and present times, “Art or Sound” explores the relationship between art and sound and the way it has developed from the 16th century to the present day, examining the iconic aspects of musical instruments, the role of the artist-musician, and the areas in which the visual arts and music have come together.The exhibition sets out to investigate the relationship of symmetry and ambivalence that exists between works of art and sound objects.The intention is to offer a reinterpretation of the musical instrument that turns into a sculptural-visual entity and of the artworks that produce sound, in a continual encroachment and inversion of fields.
What does it mean to touch an image, not just to look at it? What are the ethics of the images we choose to touch, those we are allowed to see and those we do not see but know, in fact, to exist? Do the production, storage and circulation of images today imply a responsibility to them and to their care? Curator and writer João Ribas reflects on the task of attending to images and the aesthetic effects they produce, instilling in us a need to store or share them. Arguing that contemporary images force us to move beyond basic aesthetic categories into the realm of the ontology and ethics of new affects, Ribas explores the demands images make today, as well as our forms of iconoclasm and mediation. Do we need to develop ethically informed rather than legally compelled ways to deal with images in our digital condition? Or are we perhaps merely the parasitic hosts of images, which now replicate themselves through us?
Photography, at this point, has become the intrinsic and organic container of our lives and our identity. With each new shot our deepest essence inevitably drifts towards the image of our selfies. The psycho-bio-political repercussions are there for all to see. It wasn’t always this way, though. On the way to these and other considerations, Jennifer Allen analyzes the work of Christoph Westermeier, a young artist who concentrates, understandably enough, on the photographic medium. After all, his childhood family album doesn’t exist, since his parents, followers of Heinz Buddemeier—who believed that photographs alter and falsify the memory of our experiences—never took any pictures of their child.
Thomas Duncan Gallery is pleased to announce an exhibition of new paintings by Los Angeles-based artist Jesse Willenbring. This is the artist’s second solo exhibition with the gallery.