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January 8~2012
Eleven Rivington presents the second solo exhibition of Hilary Berseth, on view until February 5. The exhibition features Berseth’s graphite drawings. Working with the most elemental of artist’s tools and techniques – pencil and paper – Berseth’s drawings balance imagery and illusion with the viewer’s optical perception.
January 7~2012
“The Historical Box”, currently on view at Hauser & Wirth Zürich, is a group exhibition curated by Mara McCarthy, director of The Box, a Los Angeles gallery whose ambitious programme focuses on presenting artists that have previously had little formal recognition in the American art world. The exhibition features sculpture, drawing and photography by influential American artists including John Altoon, Judith Bernstein, Simone Forti, Wally Hedrick, Robert Mallary, Barbara T. Smith and Stan VanDerBeek, and is accompanied by artist talks, performances and film screenings.
January 5~2012
HOTAVANTGARDEHOTHOT signals the start of the second phase of the OSLO10 program.
The group show addresses the linguistic and social attributes of the avant-garde and its significance today. In the history of the visual arts, the avant-garde refers to the artistic movements that occurred at the start of the 20th century, and is inseparable from the discourse on modernity. Since the end of the 20th century, the term “avant-garde” has become especially fashionable within the culture industry: it is often used in describing new brands or certain lifestyles. Has the movement of art going forward, in search of new territories, become obsolete, and/or has its vanguard gone elsewhere today?
January 5~2012
Big news! The new digital issue of Mousse is now available at the App Store. And from now on, you can also download the current issue of Ten Fundamental Questions of Curating, a project distributed with the international edition of Mousse, aimed at exploring the multifaceted physiognomy of the curator.
The seventh of ten dossiers presents Sofía Hernández Chong Cuy, who asks: “What about collecting?” The text is accompanied by the visual concept of Mario Garcia Torres. For further information about the current and back issues, click here.
January 4~2012
January 4~2012
Fluxia Gallery presents “Legend”, the first solo exhibition in Italy of works by Timur Si-Qin (Berlin, 1984). For this project, Si-Qin activates the narrative potential surrounding the gallery by traveling to Oria, the hometown of Valentina, one of the gallerists. There he meets her father, Ennio, a medieval reenactment hobbyist, and proceeds to shoot a video of the gallerists (Valentina and Angelica) shooting modern firearms into the father’s pieces of medieval armor — a simulated anachronistic battle doubling as the act of artistic production. The video alongside the objects themselves are presented as works in the exhibition.
January 3~2012
It has become that the greatest cultural endeavor of our time—the orthodoxy we must work against—is not to facilitate the open sharing of information, but instead to generate methods which establish a scarcity for digital objects. When a feature film is made, film distributors, festivals, and reviewers will often receive “screener” copies of the films on disc. Each of these copies, while deriving from the same source file—a digital file capable of being freely shared, altered, and copied an effectively infinite amount of times—will receive a specialized, unique digital watermark.
January 3~2012
Almost nothing comes without a symptom or intervall. And depending on the situation and intention words like method, mania, praxis and canon push on to the stage in plain clothes. But no day comes without a temperament. We think of moods having a heart or a stomach, rather than a tool in their right hand. But no, because everything becomes working and shaking hands in the evening.
January 2~2012
With most of his earlier exhibitions Henrik Olesen ignored the never ending unresolved dialectics between achieving refinement through formalities and the desire to subvert the regulated procedures of the art space with what is usually called literary narratives by simply ignoring it as a problem and at the same time achieving most advanced results on both sides.
