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October 31~2011
On October 21, FaMa Gallery inaugurated Basement, a new project space to flank the gallery’s traditional one in Verona. The new section opens with the Berlin-born artist Sinta Werner, whose work experiments with changes in the perception of images and volumes.
October 30~2011
STANDARD (OSLO) presents an exhibition consisting of three new sculptures by gallery artist Oscar Tuazon. Taking their titles from the various materials employed to make each of the sculptures, Tuazon seeks to underline a matter-of-factness while also maintaining a certain sense of reciprocity. These sculptures are defined by their mutual dependence or interaction with other objects in order to assume their meaning or function. They’re fragments or components that are simultaneously complete and incomplete; sculptures that assume some tasks; objects that have some work to do. Each of the objects, while apparently a complete, formally resolved object – a thing fulfilling its role as a sculpture – inflect at the same time towards the mundane, the functional, the human.
October 29~2011
The exhibition “NY: New Perspectives” at Brand New Gallery introduces some of the most interesting artists among the younger generations living and working in New York and explores the latest trends on the city’s art scene.
October 28~2011
In the studio they were made individually, with their own logic and circumstances, but here as they are presented they become more of a symbolic gesture.
This manner of presenting an importance or objective, but in the same swoop tearing it apart in a way that questions the motivation of that initial importance (deterritorialization), which becomes almost a red herring in its surface-ness.
October 27~2011
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‘The head, heart, and hairy area below the stomach is what should be stimulated at the cinema.’ – George Kuchar
This tribute to George Kuchar, a towering figure in American underground cinema who passed away in August 2011, features films spanning his career and his collaboration with Curt McDowell.
With his twin brother Mike, Kuchar produced a prodigious body of Super-8 and 16 mm films in the 1960s and 1970s – idiosyncratic narrative psychodramas and pop cultural parodies that are charged with perverse humour and became a major influence on younger filmmakers such as John Waters. In the mid-1980s, Kuchar acquired an 8 mm camcorder and began producing an extraordinary series of video diaries, chronicling a singular, ongoing personal history. Exhibiting the rawness of video verité and the theatricality of fiction, his self-narrated tapes record close-up observations of the personal routines and social interactions of Kuchar’s daily life.
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October 27~2011
For her second solo exhibition at IBID PROJECTS, New York artist Marianne Vitale presents four largescale sculptures taking over three floors of the gallery. “Too Much Satan For One Hand” illustrates a new body of work taking its starting point from the idea of the American Frontier.
October 26~2011
Spanning nearly five decades, and coinciding with the artist’s 80th birthday, “Gerhard Richter: Panorama” is a major retrospective exhibition that groups together significant moments of his remarkable career.
October 26~2011
‘Our feast has a forerunner: Plato’s banquet during the plague. Diotima, what causes you sadness? What confidence stops oblivion? The alleyways of the heart drive away the desert darkness, open the door for friendship. Are these the spells of Mary the Harpist? Coiled in her hands by a trick of fate. The Arabian hurricane plays on her harp. The last pledge, perhaps, of immortality.’
The Event is an international biannual art festival in Birmingham, this year drawn to the thematic of Plato’s Symposion (385–380 BC), a text that beats with ‘the genesis, purpose and nature of love’. The ten-day festival comprises exhibitions, publications, encomiums, food parcels, performances, screenings and new commissions, including an evening of performance curated by Boris Ondreička of Tranzit.org, featuring Jan Verwoert, Karl Holmqvist, Emily Roysdon and more.
October 22~2011
Leading contemporary artist Anri Sala’s exhibition at the Serpentine Gallery is conceived as a cycle, or loop, structured around pairs of works that mirror each other throughout the Gallery’s spaces.
October 21~2011
“Condominium,” Martino Gamper’s first solo exhibition at Galleria Franco Noero, is a unique project expressly conceived for the galleryʼs peculiar spaces and underlines its commitment towards contemporary creative research, overcoming the boundaries between different artistic disciplines.
October 20~2011
From today through October 23, Mousse is in Paris at FIAC
Come visit us and find Mousse #30 and our latest publications at our booth at the Grand Palais
October 20~2011
Galerie Eva Presenhuber presents a solo exhibition by Swiss artist Ugo Rondinone. The show is designed in sequences: in each of the exhibition rooms, which are painted grey, three work groups are displayed, and recent works are combined with existing series. Amid these three work groups, one diminutive piece makes a distinctive appearance: a clock made from stained glass with no fingers, which is cast into the wall and is thus illuminated by daylight.
October 19~2011
Neïl Beloufa’s solo exhibition “As Far As We Know” features two new moving image works, commissioned and produced by the Western Front over a month long residency in the summer. The video works are embedded within an installation constructed from readily available building materials. Beloufa’s installations intentionally create a sculptural fragmentation of the gallery space in order to provide several discrete environments for projection.
October 18~2011
The first solo show of Tim Rollins & K.O.S. (Kids of Survival) at an Italian museum presents a selection of works offering a broad overview of the research that Tim Rollins has conducted since 1982, on art as a form of collaboration and individual creativity as an agent of social change.
October 15~2011
“A Slowdown at the Museum” is, after “Museum of Speech” and “Museum of Display,” the last of three presentations that tell the story of a fictional museum, an interplay of definitions of ‘art’ and the ‘institution’ in an accelerated scenario of rise, self-interrogation, fall, and possible rejuvenation. The presentations bring together works that make specific claims to how they want to be seen and understood and project specific notions of the institutional space that would accommodate them. These demands and positions intersect throughout the series in distinct images of the ‘museum’, in models of how art can be shown and experienced.
October 14~2011
Featuring – Francis Baudevin, Thomas Bayrle, Hans Bellmer, Stefan Brüggemann, Marcelo Cidade, Delphine Coindet, David Cunningham, Philippe Decrauzat, Gilles Furtwängler, Amaya González Reyes, Germaine Kruip, Lee Lozano, Robert Morris, Peter Roehr, Diego Santomé, John Stezaker, Niele Toroni, Cerith Wyn Evans and Carey Young
October 13~2011
“Bus de la Lum” (which in the Veneto dialect of northeast Italy means literally “hole of light”) is the name of a large natural cavity right in the heart of the forest of the Cansiglio plateau, not far from the artist’s studio and a place he has already used for his performances and artistic research. Shrouded in legend, in the past it was believed to emanate arcane powers associated with magic rituals – oblivion and destruction for those men or animals unfortunate enough to venture there; moonless nights haunted by witches, will-o’-the-wisps, miasma, moss and rocks. During World War Two Bus de la Lum acquired a somewhat less mythical fame as a foiba doline where hundreds of unidentified individuals, sometimes still alive, were literally thrown in with their hands tied behind their back. Perhaps also on account of this latest chapter in its history anyone brave enough to venture here finds it hard to distinguish between imagination and reality, between the serene natural surroundings and the darker side of this place.
October 12~2011
“The Long Range” is loosely related to the concurrent event of Pacific Standard Time in its resolutely Western orientation. In a regional sense, this has to do with defining the included works as specific to the West Coast, and perhaps more broadly, as having to do with the genre of the Western.
