Between 1975 and 1979, the US artist Christopher D’Arcangelo (1955-1979) developed an artistic practice notable for its radicality and critical import concerning the role of the artist, the status of the art object and the institutionalization of art. A desire for a radical democratization of the production and reception of art, motivated D’Arcangelo’s critique of art institutions. His position as an artist was voiced in a statement on anarchism that accompanied, in various stenciled and typewritten forms, the majority of his actions and interventions. The statement, which contains an ellipsis between brackets in the place of an adjectival definition of anarchism, recalls the historical expression “anarchism without adjectives.”

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Norma Mangione Gallery presents a new solo exhibition of works by Francesco Barocco.

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“Master-Slave Dialectic”, the collaborative exhibition of Danh Vo and Henrik Olesen, consists of new works that move around an understanding of the idea of Freedom and Bondage as a shattered cliché.

The work of Danh Vo examines the theme of one exclusive cultural image of “liberty”. Five identical blueprints of a sheer plan of the head of the Statue of Liberty rendered for the occasion of its first comprehensive restauration in 1984 taken from the Ellis Island Immigration Library are covered with gold leaf.

The work of Henrik Olesen portrays fragmentation, repetition and dependancy. An electrical cord has repetitively been cast/reproduced following the course of its running, unconceiled and laid on top of the walls and is installed in different locations throughout the antiquarian bookstore and the gallery.

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SUNDAY and MOUSSE
invite you to chat and dance

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ICA, The Mall, London SW1Y 5AH
FROM 9PM
WEDNESDAY
12 OCTOBER 2011

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SUNDAY art fair:
13-16 October 2011 at Ambika P3,
35 Marylebone Road,
London NW1 5LS

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Structures of wood, rubber, perspex, wire and clay hold together, forming jury rigged networks, a vernacular architecture, clunky and shot through with accident. As nodes and limbs constellate this other stuff appears, a kind of reified dark matter of the studio – dirty browny greyish matter that makes up the missing masses.

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The 12th Istanbul Biennial, curated by Adriano Pedrosa and Jens Hoffmann, opened to the public on September 17 and will be on view through November 13, 2011. This edition explores the rich relationship between art and politics, focusing on artworks that are both formally innovative and politically outspoken. It takes as its point of departure the work of the Cuban American artist Felix Gonzalez-Torres (1957–1996). Gonzalez-Torres was deeply attuned to both the personal and the political, and also rigorously attentive to the formal aspects of artistic production, integrating high modernist, minimal, and conceptual references with themes of everyday life.

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In the sixth chapter of Ten Fundamental Question of Curating, Elena Filipovic investigates the meaning and the function of the exhibition. Instead of being a neutral “device”, every exhibition offers a subjective and personal reading of the artworks. Focusing on the hermeneutic power of displaying works of art, Filipovic poses questions about the final purpose of an exhibition: generating doubts rather than statements and highlighting unconventional ways of looking at art.

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Hugh Scott-Douglas “Sitzprobe”

at Croy Nielsen, Berlin

through October 9, 2011

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Marcus Kleinfeld’s solo exhibition at Schmidt & Handrup, Köln, examines the systems and structures created by humans, in which they must also inevitably exist. Like his first show with the gallery, “MENSCHENPARK” (Human Park) focuses his works’ attention on human nature and how it presents itself. The exhibited pieces therefore deal with society as much as with individual bodies and their needs and fears within the system. Human relations hereby represent a constant exchange of power relations.

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Location, reproduction, and distribution are central to Ben Schumacher’s practice. Schumacher (Kitchener, Canada, 1985) creates images and installations that conceptualize and present art, both in-situ and online. His work is engaged in the collapse between object and image, as well as the discrepancies that might occur as one state is transferred to another. Schumacher uses images and objects culled from seemingly inconsequential online sources and order-on-demand readymades: an archive of unattributed signatures gathered from expired online receipts, customized car accessories rendered alien by their lack of context, Google Sketchup’s virtual models rendered as physical objects through the process of 3D rapid scanning.

For ‘Short Stories,’ Schumacher has created a new installation that draws attention to discrepancies between surface and substance, image and object. The dispersion and circulation of images is presented here as an uneasy surrogate or doppelganger of the gallery-based object, where both image and object present visual fictions of one another, thus exposing the true fiction of the ‘original’.

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