The IAC Villeurbanne has invited Joachim Koester for his first large monographic exhibition.
The exhibition at the Institute assembles a large set of existing works, most of which were made since 2005, and new works, consisting mainly of films and photographs. Joachim Koester has designed the exhibition like a pathway in half-light through a maze that fills all the space available. This exhibition is for him a matrix whose components (ideas, characters, subjects and emotions) weave links from one room to another.

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Taka Ishii Gallery presents a collaborative audio-visual performance installation by Ei Arakawa and Sergei Tcherepnin, on view until January 14. Both artists are present on most of the exhibition dates from 3pm until 6pm.

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“Des(enho)” is a group exhibition curated by Brazilian art critic, editor and curator Rodrigo Moura, featuring works by Carla Zaccagnini, Gabriel Sierra, Marcius Galan, Marilá Dardot and Nicolás Paris.

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“Mi dispiace, ma il gatto è sul tavolo…” What else can you say when you can’t say what you mean to say? What other pithy rendering could summarize, in a simple economical sentence, that awkward, almost pre-verbal state of muteness that lurches forward when you run out of words in a foreign language. You know the look — reverting to frustrated grunts, bug-eyed, beetfaced, treadmill-tongued, stammering, with arms made elastic from gestural doggie paddling? All dammed up, your damned, so you let the cat off the “Rosetta Stone” and out of the classroom. You resign, “I’m sorry, but the cat is on the table. ”

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In Tauba Auerbach’s work traditional distinctions between image, dimensionality and content collapse. Surface, specifically the larger issues surrounding topo¬logy, has been a central concern in her recent paintings, drawings, photographs and artist books. Auerbach interweaves discordant positions such as disorder and order, readability and abstraction, permeability and solidity – phenomena that are usually viewed as incompatible – into unified surfaces and volumes.

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at Greengrassi, London

until January 14, 2012

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The work of Alejandro Cesarco moves within the borders of conceptual art, as a research project that questions the very idea of narration and the origin of the conditions which enable a text and the mechanisms of its process of meanings. The focus of Cesarco’s work is the autonomy of the text and the modality of the relationship between work and spectator, between the written word and the reader. The act of artistic production itself is for the artist based in the act of reading, and all of his work revolves around problems of hermeneutics and translation, as these can be observed from the privileged perspective of literature.

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This isn’t the umpteenth ode to the return of Painting, in part because Painting has never really left us. Painting, that elderly aunt—that beautiful oil on canvas, with its universe of naked women, landscapes and still lifes—is an irrepressible need and an outlandish vice: it pops up when you least expect it.
We tried to push the boundaries of art, to expand its sphere of action. These days artists shoot films, write texts, make installations; sometimes they paint white or greenish monochromes.
We really did our best to bury Painting, under urinals, mustachioed Mona Lisas, matchstick collages, live horses, canned shit, middle fingers, crucified frogs.

Made in a specifically DIY approach, West’s hypnotic videos are a product of her idiosyncratic experimentation into what happens when celluloid film surface is subjected directly to a wild array of processes, chemicals, materials, and events. In her new works the artist abuses and transforms film stock by treating it with substances including mascara, metal compounds, vitamin supplements, dyes, liquid nitrogen and highlighter pens, as well as with physical interventions such as grating, scratching, whipping and impressing. Transferred to video and projected on a scale reminiscent of abstract expressionist painting, the resulting films become a hallucinogenic kaleidoscope of references.

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Paul Lee’s work is born of a relationship between particular material forms and romantic, unspoken narratives. Towels, washcloths, lightbulbs and tambourines are humble objects that find their way into Lee’s work: things that are part of a language of our shared experience of the world. Reconstructed and reordered with basic materials, the ‘real space’ of these objects and their properties is abstracted into an implied pictorial space that intends an expression of intimacy and vulnerability.

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“The Outside”, first solo show of Becky Beasley at Francesca Minini, forms the second part of the trilogy, ‘Late Works’, the first part of which was produced in 2010. The trilogy will be concluded with a further project and three-part bookwork in 2012. The starting point for “The Outside”, was Beasley’s interest in Casa Mollino, an apartment in Turin, which Mollino bought in 1960 and spent the remaining years of his life decorating. He never lived in the Casa Mollino; it was intended as a kind of ‘afterlife’ tomb. Through his interest in the Egyptian Museum in Turin, he was aware that the royal architect Kha decorated his own future tomb in his spare time, and so Mollino, like Duchamp with his Étant donnés (1946-66), similarly spent the last years of his life working on it in relative secrecy.

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The End, Henrik Håkansson’s new 35mm film currently on view at The Modern Institute, Glasgow, depicts in extraordinary detail the life cycle of a fly. On the evening of the 25th November, the film’s score, composed by John Coxon, and conducted by Jessica Cottis was played live by an amassed group of musicians and singers. Evidence of the event remains in the gallery, alongside the film, the score and a documentary film.

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The Max Hetzler Gallery presents an exhibition of Günther Förg featuring works from 1987 to 2011. On this occasion the gallery is turned into a quite commanding immersive environment with the seminal black and white photograph “Ika” (1987) as an introduction to the exhibition. A specially commissioned wall painting is on view along  with a mirror, photographs from the series of rationalist architecture “Città Universitaria“, paintings from the nineties and noughties, including very large formats and recent paintings from the series known as the grit or dot paintings. Thus underscoring Förg’s interdisciplinary investigations and his use of the space conceived as one work.

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Mousse for iPad

November ~ 2011

Mobile App

In October 2011, Mousse launched its digital version for iPad, available in every part of the world at the App Store. All of the paper edition’s editorial content is available in English and enriched through interactive elements, slide shows, video and exclusive images.

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Artissima 18 App

November ~ 2011

Mobile App

This application, developed for the 18th edition of Artissima, the International Fair of Contemporary Art in Turin, was conceived as a rich and comprehensive resource to animate the fair. 

artissima.it

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ltd los angeles presents Brian Kennonʼs first solo exhibition with the gallery. “Get In” features 4 overlapping series of works that continue Kennon’s exploration of print media and its relationship to visual culture. For this occasion, ltd los angeles published a catalogue also titled Get In by Brian Kennon and Andrew Berardini.

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SUNDAY Party 2011

October ~ 2011

Event

After gaining a strong and visible foothold in the ever-growing art fair landscape, SUNDAY returned to London and happily renewed its partnership with Mousse. Over 800 attended the party Mousse hosted at the ICA to celebrate that third and biggest SUNDAY so far.

sunday-fair.com

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