Featuring: Josephine Meckseper, Ryan Trecartin, Meredyth Sparks, Mark Barrow, Linder, Lizzie Fitch

at Elizabeth Dee Gallery, New York

through July 15, 2011

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This monograph on Marie Lund, published by Mousse on the occasion of the artist’s first solo exhibition at Laura Bartlett Gallery, comprises a two-sided reflection – the first mute, iconographic; the second speculative, text-based – on how we approach sculpture when it is reproduced on paper, or rather, how we approach an image of three-dimensional reality when we are offered a single, flat vantage point.

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Spread over the three upper floors of the Kunsthaus Bregenz, the multifaceted group exhibition ‘That’s the way we do it. Techniques and Aesthetic of Appropriation’ concentrates on artists whose works stand out for detailed investigation of the meaning of materials and techniques in relation to social, cultural, and economic questions. The show includes prominent artists as John Baldessari, Barbara Kruger, Richard Prince, and Andy Warhol, but also gives visitors a chance to discover young artists such as Ei Arakawa, Simon Denny, and Tobias Kaspar.

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The exhibition ‘The Fairytale Recordings’ at RaebervonStenglin, Zürich, presents for the first time in Switzerland the highly reflexive practice of Saâdane Afif. Art, in Afif’s work, becomes words, music and movement, metamorphosing from one art form into another with the help of talented collaborators. Inviting writers to respond to physical artworks, and musicians and actors to respond to their texts, Afif transposes the visual into other senses, projecting the imaginary essence of a piece through the interpretations of others.

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It is a highly choreographed situation in which patent-leather shoes on a black wool carpet move around a pentagonal white pattern, shiny marbles roll and stop for an enigmatic reason at the exact angle of the pentagon, people in black suits bend down and get up, all directed towards the same axis: an invisible space situated in the centre of the pentagon that does not move… it repeats indefinitely…

Curated by Raimundas Malašauskas

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After the jump, an interview Tobias Putrih on the occasion of his solo exhibition ‘Spogliando un vicino’, currently on view at pinksummer, Genoa.

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Living in what Zygmunt Bauman has described as liquid modernity, where the world we deal with every day is constantly obsessed with immediacy, and duration is considered a disadvantage, the idea of a show exploring the language of repetition, time and memory is somehow reassuring. The works in “Time Again”, curated by Fionn Meade on the two floors of the Sculpture Center, challenge the established concepts of past and present through a variety of media and approaches.

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Marc Camille Chaimowicz, Jutta Koether, Lisa Lapinski, Dianna Molzan

through June 25, 2011

Overduin and Kite, Los Angeles

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Hauser & Wirth Zürich presents an exhibition of new works by the Canadian artist Rodney Graham.
The exhibition features three new monumental lightboxes: ‘The Leaping Hermit’, ‘The Avid Reader’ and ‘Basement Camera Shop circa 1937’.

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Text – Juan A. Gaitàn
Visuals – Christodoulos Panayiotou

In the fifth installment of Ten Fundamental Questions of Curating, Juan A. Gaitàn reflects on the meaning of the “viewing public”, offering a brief overview of how viewers’ roles and attitudes have changed in relation to museum events, and emphasizing the elements of fragmentation and lack of identification that can be seen in the public’s approach to contemporary art shows.

Click on the image to go to the website

ltd los angeles presents Adrian Wong’s debut solo exhibition in the United States, “Troglodyte See the Light”.

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‘Nobody Can Tell the Why of it’ takes its name from an inflated and slightly exaggerated as well as archaic idiomatic translation of the title to an engraving by Francisco Goya.
This exhibition at 1857, curated by Esperanza Rosales, is a means of engaging threads of mysticism in five contemporary practices and invites the artists – Nicholas Byrne, Timothy Furey, Ken Okiishi, Nick Mauss and Josef Strau – to produce new work in a former lumberyard in the center of Oslo. Linking mysticism to certain forms of male hysteria, it brings works spanning the fields of drawing, painting, writing, video and sculpture, together in a non-exegetical fashion. Furthermore, it examines the paradox that exists at the site of communion between individual practitioners and collective efforts.

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“Come Out Come Out Wherever You Are!”, Dan Colen’s exhibition dedicated to American artist Dash Snow, is on show at Carlson Gallery, London, until July 29.

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“Rise, Rose, Risen” presents the work of two European artists Harold Ancart (Belgian, 1980) and Esther Kläs (German, 1981) living in New York. Of two distinctly different sensibilities, the artists work in differing modes with their own respective vocabularies. Kläs’s oddly upbeat sculptural integers, formally reminiscent of everything from Easter Island to Rodin to Brancusi, present a striking contrast with Ancart’s more moody environmental interventions, whose formal vocabulary is liable to bring to mind the likes of Claudio Parmiggiani to others. And yet, for all their formal dissimilarities, Ancart and Kläs share a kindred preoccupation with questions of materiality, presence and time.

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Scott Lyall’s exhibition at Sutton Lane, Paris, comprises a series of new paintings and vinyl adhesives that are based on unique printouts in which pale colours derive from mathematical interpolations. These works suggest a penumbral, shimmering light, and appear to be -indeed- nude, but they are actually the result of successive layers of colour applied to canvas or vinyl.

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