A year and a half ago, Vincent Fecteau’s San Francisco studio flooded. Luckily his work wasn’t damaged, but he was forced to go through his old boxes, and he came across a decades-old folder of cut-out photographs of throw pillows he had taken from architecture and interior design magazines of the 1970s and 1980s. This rediscovery led to a new series of fifteen three-dimensional collages—one of his first forays into this format since the 1990s—that will be featured alongside sixteen sculptures from 2000 through the present in his solo exhibition “You Have Did the Right Thing When You Put That Skylight In,” curated by Elena Filipovic at Kunsthalle Basel. His largest exhibition to date comes on the heels of increasing exposure in the United States, with inclusion in the 2012 Whitney Biennial and the 2013 Carnegie International, along with a well-received solo exhibition at Matthew Marks Gallery in New York last year.
Mathis Altmann, Das Institut & Allison Katz Rochelle Goldberg, Juan Jose Gurrola, Julien Nguyen, Margaret Salmon, Oscar Tuazon. Curated by Tyler Murphy
This new Little Constellation event, curated by Alessandro Castiglioni, Rita Canarezza & Pier Paolo Coro, is the final exhibition of the program of Listen to the Sirens. It was preceded by two years of intense work for the first time simultaneously in two countries: Gibraltar and San Marino, with artworks involving site-specific research, workshops, conferences and the creation of new artistic productions specially in both territories.
One of the most radical and articulate artists of the avant-garde working in Italy today, Giorgio Griffa became known in the late 60s for his paintings reduced to their essential components: canvas, colours and brushstrokes. The Centre d’Art Contemporain Genève presents an exhibition covering his oeuvre between 1968 and 2014.
“Men of the forest of Finland is the theme of a new series of drawings being prepared by ‘Tom’ an artist who lives in Finland and draws from life…” reads the first page of the of the spring 1957 issue of Bob Mizer’s Physique Pictorial, a so-called athletic magazine that circulated for 30 years. It was Tom of Finland’s American debut, and this line, alongside the illustrations it accompanies, seem to pre-emptively lay out the complexity of Touko Laaksonen’s (b. 1920, Kaarina, d. 1991, Helsinki) own persona. “Tom” is a rare figure (if not the only one) whose own biography and identity was almost completely eclipsed by his own desire. A search, whether by his birth or adopted name, turns up only a handful of images of him—the number of bright, smiling faces of young men seem to overwhelm. More commonly remembered in an idealized form, Tom’s own face is erased in our memory in favor of his lovers, both real and imagined.
Maureen Paley is pleased to present the second solo exhibition at the gallery by New York-based artist Thomas Eggerer. Thomas Eggerer was born in 1963 and studied at the Art Academy in Munich, Germany before moving to the US in the mid 90s where he eventually became a member of the artist collective Group Material. By the late 1990s his focus returned to painting and he has been exhibiting this work extensively over the last fifteen years.
Founded in 1994 as a family endeavour, the Zabludowicz Collection has rapidly become one of the world’s leading independent contemporary art collections. Comprising over 3,000 works by more than 500 artists, it continues to grow and evolve each day. “Zabludowicz Collection: 20 Years” presents work by 32 leading international artists acquired over this period.
“Twin Fields” is Anne Hardy’s first exhibition in Scotland and her most ambitious project to date.
The exhibition takes the whole gallery as a landscape, within which are two large “twinned” sculptural structures. Hardy describes these as attempts to make “illusions that you can enter”. These identical volumes reveal their making but not, at first, their contents. Filled with an accumulation of materials and sounds, the sculptural structures create images through a language of component parts.
Cherry and Martin is pleased to announce an exhibition of new works by Matt Paweski and Andrea Sala. Intersecting perhaps only at their interests in the disciplines of design and architecture, Paweski’s and Sala’s works are wonderfully experiential due to their articulation of line and space and tactile material surfaces: paint-soaked wood, steel covered in powdery paint, candy-colored Bondo smoothed onto glass, Plasticine pressed into the cracks of shaped, buffed briar root.
Brand New Gallery presents “Mediated images”, a group shows with woks by Matthew Brandt, Joshua Citarella, Jessica Eaton, James Hoff, Chris Wiley and Letha Wilson. The artists in the show push the boundaries of contemporary photography experimenting new ways to use it. Photography is not anymore confined to the two-dimensional machine-dependent realm, but processes and techniques from various disciplines are juxtaposed and layered on top of each other, creating hybridized end products that defy easy categorization.
For over 35 years, Smith has developed an incisive practice that engages the tragicomic aspects of American culture and the art world, teasing out facets of loneliness, consumerism, and the personal measures of success and failure in each. Smith traverses these subjects through the lens of his performance personae Mike, the quintessential Everyman who continually falls victim to trends outside his grasp, and Baby Ikki, an impetuous toddler with a five o’clock shadow.
Albert Oehlen’s first major institutional exhibition with the title “Abräumung” (Clearing Away) took place in Kunsthalle Zürich in 1987. Now, almost thirty years later, Kunsthalle Zürich presents its second installment of works by this German painter, who was born in 1954 and has been living in Appenzell for the last decade.
Cory Arcangel, Alex Bag & Patterson Beckwith, Judith Bernstein, Vittorio Brodmann, Marvin Gaye Chetwynd, Simon Denny, Harun Farocki, Jan Peter Hammer, Nic Hess, Danny McDonald, Dawn Mellor, Claus Richter, Tabor Robak, Timur Si-Qin, Michael Smith, Lily van der Stokker, Julia Wachtel, Hannah Weinberger
Mousse, based in Milan, is offering a paid internship for an enthusiastic and creative graphic design student or recent graduate. Applicants should be excited to develop their ideas and knowledge while working on projects at a growing company that offers a friendly, team-oriented working environment.
Applicants should possess the following skills and experience:
• excellent knowledge of Adobe Creative Suite
• social media skills
• entrepreneurial approach to public relations and marketing
• ability to work in a team-based, collaborative atmosphere
• a passion for books and printed matter
Projects and responsibilities include:
• printed documents and promotional materials
• brochure layouts
• photographing some of our projects for our photo library and website
Applications, accompanied by a CV/portfolio, can be sent to firstname.lastname@example.org with the subject line “Internship”.
In John Waters’s autobiographical book Role Models (2010), he complains about being labeled a “cult filmmaker” and wonders if he could write “cult leader” on his tax forms instead. Increasingly, Waters has attracted a hoard of fans who are drawn to his fascinating, intelligent left-field persona. People who love the man with the little moustache, even if his cinematic output is less in vogue. His mainstream period directing movies like Hairspray (1988), Cry-Baby (1990) and Serial Mom (1994) always felt odd—like someone sneaking in through the back door of Hollywood. The work was always too weird, too smart and too kitsch. It was not surprising in this politically correct era that Waters has not directed a film for over a decade. Instead, he has turned his hand to writing and creating work in an art context.
The silence on the floor of my house
Is all the questions and all the answers that have been known in the world
The sentimental furniture threatens the peace
The reflection of a sunset speaks loudly of days
Asger Carlsen, James Case-Leal, Adam Cvijanovic, Jay Heikes, Elizabeth Jaeger, Dean Levin, Dashiell Manley, Ruairiadh O’Connell, David Opdyke, Jacolby Satterwhite, Nick van Woert, and Letha Wilson
In a surprising and fragmented way the large-scale installation A Burning Bag as a Smoke-Grey Lotus by Gareth Moore describes the course of one full day. Six constructions function as display cases for a collection of sculptural instruments, representing a musical composition written by the arist himself that takes us from sunrise to sunset.