Auto Italia Live is an artist-run TV series which aims to experiment with new possibilities to engage in contemporary broadcast and internet culture. Working in collaboration with Auto Italia a wide variety of artists will produce new work through weekly episodes, engaging directly with the format of live Television and a history of artists using broadcast media platforms to distribute work.

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O is the opening.. O is a belly. O is volume. O is the title of this my second show at Francesca Minini. It is a show that is meant to oscillate between the too much and the less than little; between limitless expenditure and passive indifference. The O’s roll through this text. They drive it on.

In front of you Things And The Thoughts That Think Them (Man) (2011) consists of several objects encased in acrylic glass boxes and then stacked. The boxes share qualities with the vitrine (they are transparent) and with the moving  box (they render the objects they encase „stackable“). These things are nothing special. They maybe even look as if noone has really chosen them; as if they have chosen themselves. The boxed things are stacked to clumsily resemble a man. A totem that fuses the way of man with the way of material.

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LABOR presents the first solo show of the Argentine-American artist Santiago Cucullu in Mexico. “In the Lavender Haze” is an exhibition that deals with confusion and disassociation. Seeking a muse to produce the works for this show, Cucullu turned to his friend Martín Ayos, a writer and philosopher based in Buenos Aires. Over the years, Cucullu and Ayos developed a methodology of bilateral free association: Ayos writes poems or fragments spurred by images created by Cucullu and visa versa. At LABOR, the exhibition is accompanied by a small booklet with text fragments by Ayos based on a series of prints and original images provided by Cucullu. Rather than shut down or limit the possible interpretations of the images, however, the relationship between the texts and the images can be understood as an attempt to sabotage the definitive characteristics of language. Cucullu achieves this subversion by introducing Ayos’ poetry not as a script or blueprint for understanding his images, but as a kind of parallel soundtrack, allowing viewers to generate their own associations.

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Dear Friends,

Please join us at the 2011 New York Art Book Fair

September 30 – October 2, 2011

Preview: Thursday, Sept. 29, 6–9 p.m.

You will find us at 3rd floor, T10.

We will be presenting brand new and recent publications, and the new issue of Mousse.

We very much look forward to meeting you at the P.S.1!

On Friday 2 September Nicolas Party hosted “Dinner for 24 Elephants” at The Modern Institute. The invited guests ate a seven-course meal designed by the artist that included: a single oyster; a fish; a sausage and a poached pear. Each dish was presented on a plate, painted by Party and each guest sat on a stool and at a table painted by Party. The event reflected and animated the familiar vocabulary found in Party’s drawings and paintings. The plates, stools and tables have now been installed Upstairs at The Modern Institute.

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Catriona Jeffries Gallery presents Ron Terada’s new series of paintings, Jack. Initiated in 2009 while on residency at the Banff Centre, Terada began the project of painting the six specific chapters from the book Jack Goldstein and the CalArts Mafia that had been written by the American artist Jack Goldstein, before his untimely suicide in 2003.  The book chronicles Goldstein’s life as an artist while at the same time charting the emergence of artists from CalArts in the 70s, and their migration to New York and the subsequent failures and successes of artists from the period. Written with cringing honesty, Goldstein’s writing reveals the archetypal pathos and tragedy of his own life, presented as the ultimate mythical tale of the genius artist martyred by the ego and star-driven workings of the 1980s art world.

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Matt Connors believes in the potential for invention and renewed meaning in abstract painting. His practice embraces abstraction as a poetic language, disregarding the end-game discussion that surrounds much of contemporary painting in favor of an open-ended investigation into image making. Valuing the pleasure of non-verbal, contemplative looking over conceptual gamesmanship, unabashedly borrowing from a range of sources and art historical precedents, including mid-century American painting, typographic design and the formal structures of modern poetry, Connors reinterprets and extends the late-modernist narrative. Connors’s technique is often decidedly hands-off, relying as much on willful mark making as it does on the incidents and accidents of studio practice – the “marks of making”. While his creative process appears coolly cerebral, employing scant virtuosity or painterly finesse in any traditional sense, the paintings are neither cold nor ironic. His combined use of frottage, staining, overpainting and drawing creates an expressive space devoid of common, painterly gestures or brushwork. The result is an earnest yet subtle emotional intensity.

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Gallery Vela’s current exhibition, “Like rowing a boat; facing the way you came,” is tied together by the work of the artists who take a history of something as their departure point, be that through a political or cultural history, or indeed through the materials that are selected to create the work. Sociologically, economically, culturally and politically, we have been on the brink of change for some years. The artists selected belong to a generation that seeks out certain elements or references from the past in order to reconstruct something for the future. Often their works abstract and shift the way in which we perceive the familiar – giving a new perspective of invoked materials and interpretations of a character. Each piece in the exhibition suggests that it is not only stories that can be retold or adapted, but also the materials themselves.

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Susanne Kriemann composes her works based on historical and social research. The artist often reproduces vintage prints and combines the appropriated material with new photos taken by herself; the emerging convolution of pictures is a result of visual association and formal analogies, but at the same time it derives from topics that were linked to the original context of the pictures.

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Known for sculptures made of joined pipes, broom handles, discarded lighters, beer bottles, light bulbs, straws, and crayons, Andy Coolquitt’s assembled works are minimalist, ordered rearrangements of the raw world from which their components are sourced. For ‘+ “Plus Sign”’, Coolquitt’s solo exhibition at Locust Projects, the artist realizes four installations set within the intersection of large 3/4” clear Plexiglas sheets. Creating four corner platforms within this larger structure or pavilion, the work exists within the separate, yet transparent environments and fully function in each. Using a vocabulary of humble materials, the individual installations employs a variety of every day and modified objects.

Expanding on Coolquitt’s “somebody-made” sculptural assemblages of the past two years, + is a joint between architectural sculpture and discreet objects, performance and work, and public and private spheres. Reminiscent of Dan Graham’s architectural pavilions and Duchamp’s Large Glass, this work picks up an art historical dialogue of objecthood and the de-centered viewer, and speaks to theories of the “third space” presented by writer Edward Soja.

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Born in 1984, the young Zak Kitnick – shown in his first solo exhibition at Clifton Benevento’s – examines the strategies and processes of interchange between the production of “massified” consumer goods and forms of architecture, design and art. He also analyses the boundaries through which concepts of “decoration” and “function” are perceived and codified. An example of the internal dynamics of Kitnick’s works in the show is given by the “sculptures” embedded in the gallery walls. These are made from components of industrial scaffolding deprived of their original functionality, thus forming a kind of amped-up organizational system no longer capable of use.

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Kensuke Koike “Searching for a perfect”

at Jarach Gallery, Venezia

through October 29, 2011

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Taking place from September 6th until October 31st, Dublin Contemporary 2011 is one of the most ambitious exhibitions ever staged in Ireland. Showcasing the work of more than 114 Irish and international artists, the project is set to transform the city into a vibrant gallery.
The title and theme of this year’s edition is Terrible Beauty—Art, Crisis, Change & The Office of Non-Compliance. Taken from William Butler Yeats’ famous poem Easter, 1916, the exhibition’s title borrows from the Irish writer’s seminal response to turn-of-the-century political events to site art’s underused potential for commenting symbolically on the world’s societal, cultural and economic triumphs and ills. The second part of the exhibition’s title underscores Dublin Contemporary 2011’s emphasis on art that captures the spirit of the present time, while introducing the exhibition’s chief organizational engine: The Office of Non-Compliance. Headed up by Dublin Contemporary 2011 lead curators Jota Castro and Christian Viveros-Fauné, The Office of Non-Compliance will function as a collaborative agency within Dublin Contemporary 2011, establishing creative solutions for real or symbolic problems that stretch the bounds of conventional art experience.

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Marian Goodman Gallery announces an exhibition of new work by Gabriel Orozco which will open to the public tomorrow, September 14th and be on view through October 15th. This is Orozco’s first solo exhibition to follow his recently completed retrospective tour that began in December 2009 at the Museum of Modern Art in New York and traveled to the Kunstmuseum Basel, the Centre Pompidou, Paris, and ended at the Tate Modern, London, in May of this year.

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At Casey Kaplan gallery is currently on view an exhibition of new sculpture by Canadian artist Brian Jungen. Preceded by “Brian Jungen: Tomorrow, Repeated,” a solo exhibition at the Art Gallery of Ontario, elebrating Jungen’s receipt of the 2010 Gershon Iskowitz Prize, this exhbition marks the debut in the United States of an important evolution in Jungen’s work. Within the past few years, Jungen has focused his practice on modernist concerns and contexts, redefining his object making through the use of new materials and processes that reflect this shift, a more intimate relationship to the body, and his family’s traditions and history.

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Following his 2010 exhibition “Silly Rabbit – a gravestone and an urn at Dispatch,” Tom Holmes presents at BUREAU several new large-scale pieces showing a continued interest in borrowing from funerary objects. Far less attached to the function of these objects than in his earlier work, these new sculptures are made from a mix of industrial materials and textiles including steel, cinder blocks and burlap. An arc describing a thin section of a cone, provides the formal anchor of the new works. This substrate, draped and bent, is adorned with hand-painted human bones.

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abc art berlin contemporary

September 7-11, 2011

Station-Berlin, Luckenwalder Straße 4-6 10963 Berlin, Germany

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