Gallery News

 
LA Weekly: 15 Female Artists Who’ve Shaped the L.A. Art Scene
 


Uta Barth, In the Light and Shadow of Morandi (17.01), 2017, face mounted, raised, shaped,
Archival Pigment print in artist frame, 48.75 x 52.75 x 1.75 inches (framed), edition of 6, 2 APs.

15 Female Artists Who've Shaped the L.A. Art Scene
by Eva Recinos


Uta Barth

Known around the world for her unconventional style of photography, Uta Barth calls Los Angeles home and received her MFA at UCLA in 1985. Barth's compositions usually require that viewers allow their eyes to adjust a little; there seems to be nothing really there, but the faint shapes that come to the surface turn out to be haunting. Her work is a part of major museum collections including those at the Hammer Museum, LACMA and the Getty. 

 
 
LA Weekly: 5 Art Shows to See in L.A This Week
 


Uta Barth, Untitled (17.04), 2017, Archival Pigment print in artist frame (welded aluminum,
optium), 75.75 x 64.875 x 2.5 inches (framed), edition of 6, 2 APs. Installation view 1301PE.


Quietly serious - Uta Barth at 1301PE by Catherine Wagley


One six-foot-high image in longtime L.A. artist Uta Barth's current show at first looks like a painting when you see it hanging at 1301PE. In fact, it's an especially sharp photograph of the white-painted exterior wall of Barth's studio. The sunlight makes the subtle inconsistencies of the paint job apparent and, as with much of Barth's best work, the image's quietness has more intensity than serenity. It requires your attention and demands that you acknowledge all its mundane but idiosyncratic details. 

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Diana Thater: ARoS Triennial (The Garden - The Past), Denmark
 

ARoS Triennia: The Garden - The Past

April 8–July 30, 2017


The first ARoS Triennial will feature major new commissions and large-scale installations across the city of Aarhus, Denmark. Focusing on depictions of nature throughout history, the Triennial will be split into three sections: The Past, The Present and The Future. The launch of the Triennial will coincide with Aarhus’ year as European Capital of Culture.

The Past, which opens April 8, will span 400 years and will illustrate man’s relationship with nature: from the powerful orchestration of the baroque garden, the mathematically constructed landscapes of neo-classicism, and the sensuous gardens of the rococo to the monumental use of nature in land art projects and modern man’s impact on nature portrayed in contemporary art. The Past will provide the historical context for the Triennial theme and will be spread across several levels of the ARoS Aarhus Art Museum, comprising more than 100 works (paintings, installations, video art, and sculptures) by artists including Nicolas Poussin, Paul Gauguin, Edvard Munch, Robert Smithson, and Meg Webster.

The Past will feature works by Nicolas Poussin, Claude Lorrain, Antoine Watteau, Jacob Isaacksz. van Ruisdael, John Constable, Caspar David Friedrich, Edvard Munch, Paul Gauguin, Pierre-Auguste Renoir, Maurice de Vlaminck, Emil Nolde, Max Liebermann, Ernst Ludwig Kirchner, Paul Klee, Max Ernst, Jean Arp, René Magritte, Giorgio de Chirico, Robert Smithson, Joan Jonas, Richard Long, Diana Thater, Meg Webster, Olafur Eliasson, Damián Ortega, Darren Almond, and Pamela Rosenkranz.


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Diana Thater: "A Runaway World " at The Mistake Room, Los Angeles
 


Image Credits: T. Kelly Mason.

Diana Thater: A Runaway World

April 1 - June 3, 2017


For her exhibition at The Mistake Room, Thater will present two works she produced in Kenya in 2016 and 2017. Conceived as both portraits and landscapes, the works will be staged within a unique architectural environment of free-standing screen structures that the artist designed. The works give us glimpses into the lives and worlds of two species on the verge of extinction—rhinos and elephants—and the illicit economies that threaten their survival.

The first work, As Radical as Reality, revolves around Sudan—the world's last surviving male white rhino. Protected from poachers by guards who accompany him at all times as he roams the grounds of the Ol Pejeta Conservancy, Sudan represents the last hope of his species but he has shown no interest in mating with the two female rhinos who also live at the Conservancy. When he dies, at some point in the near future, so will the rest of his kind. Thater was given unprecedented access to film Sudan and his guards. Over the duration of a week, Thater filmed Sudan and his human companions in the wild during the day and at night—capturing their daily lives from a very intimate perspective. For Thater, a species is a world unto itself—a configuration of existence that is worthy of our contemplation. Thus, in this work, Thater attempts to metaphorically assemble a portrait not only of a species, but also of an entire world coming to an end.

The second work, A Runaway World, captures a herd of Elephants that Thater filmed in Kenya's Chyulu Hills earlier this year. The elephants meander through on one screen as images of the terrain in which they reside are projected onto an intersecting one; gesturing to the relationship between the natural environment and survival. This changing landscape, forged by shifting images of majestic beings and the land between Mount Kilimanjaro and the Chyulu Hills, comes into focus only momentarily—reminding us of the fragility of the world and our complicity with its longevity.

Presented together in the space, this portrait of beasts and this landscape inhabited by beasts ask us to confront urgencies that are going to shape the well being of a future all species will inhabit and to accept a reality that too many today are attempting to frame as fiction. 


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Bloomberg: Philippe Parreno on "Brilliant Ideas"
 

Bloomberg's 'Brilliant Ideas' documentary


Each 'Brilliant Ideas' episode profiles an artist from around the world who specializes in a medium that could include sculpture, painting or performance art. The artists discuss their lives and careers, including how they got into the industry and what inspires their work.


Watch video here

 
 
KCRW: Uta Barth at 1301PE
 


Uta Barth, 2017. Installation view 1301PE.

Uta Barth at 1301PE

Hunter Drohojowska-Philp praises the photographer's skill with light and shadow.


Uta Barth is best known for her photographs chronicling the effects of light in her studio, images that are minimal in both their appearance and sources. Her exhibition In the Light and Shadow of Morandi at 1301 PE is a more dramatic intervention. By placing colored glass vessels on a table in her studio, she photographed the effect of light passing through them to cast colored, rippling, fanciful shadows.

The show is an ode to the modern Italian artist Giorgio Morandi, who repeatedly painted still lifes of bottles, bowls and pitchers in a monochromatic and poetically simplified manner. Barth follows his method of returning repeatedly to similar compositions in order to concentrate on the relationships between the shapes of different vessels, the effects of light, whether radiant or cloudy, the range of possible colors.

Barth is not slavishly copying but borrowing from Morandi to analyze the differences between the individual perception of a painter and the camera's eye. Barth compensates for the parallax distortion of photography by combining different points of view in a single image. Objects appear both solid and translucent. Are we seeing the actual vessels or just their reflections and shadows? Heightening the effect, each photograph is presented on a matte that is cut to correspond to the black table bearing the vessels, which adds to the illusion of receding perspective. One edge of the matte is colored by Barth — yellow, blue — in a way that is scarcely noticeable but still adds a sense of containment. A shadow of the artist's hand in the arrangement is included in some pictures, as it has in some of her past work, as though the artist wants her intellectually and perceptually evolved art to retain a sense of self.


Listen here

 
 
Artillery: Uta Barth at 1301PE
 


Uta Barth, In the Light and Shadow of Morandi (17.01), 2017, face mounted, raised, shaped,
Archival Pigment print in artist frame, 48.75 x 52.75 x 1.75 inches (framed), edition of 6, 2 APs.

Uta Barth by Ezra Jean Black

Uta Barth's work has always dealt with the way images and perceptions are shaped through both the tools and conventions of image making. Much of that work has addressed more specifically divergences between those synthetically shaped and focused perceptions and expectations conditioned by convention. In the body of work currently on view at 1301PE, shape itself is made the 'foreground' threshold for what becomes a dazzling play on the essential materials of photography and image-making generally. The subject is nominally a bar or serving console with bottles, decanters, vases and other vessels arrayed across it – the kind of still life that was a favorite subject of Italian painter, Giorgio Morandi; and In the Light and Shadow of Morandi becomes clearly, not only an homage to Morandi, but itself a kind of painting with refracted light. The process is willful and deliberative in every respect, yet also admitting of mystery. 'Field' here is shaped subtly into simple polygons and floated within the framed squarish rectangle – echoing the severe rectilinear geometry of the bar. The bar is mostly blacked out; but even here, Barth subtly conflates and confuses its structure with its shaped polygonal support. The angle seems to shift, elongate, flatten. Slits or storage spaces (or apertures?) reveal openings or other vessels beneath the bar's surface. The focus and emphasis are on the silhouetted verticals of the vessels infused by the (mostly horizontal) refracting light and its luminescent color – dazzling and ethereal. The vessels are rendered as distinct worlds, alternately separated crisply by white space or clustered close; yet not bleeding so much as displacing each other, each preserving its specific transmuted atmospheres in a spectrum of glass-inflected colors: chartreuse veering into olive (or even 'bottle') green; azure and sapphire; amber, rust and ox-blood red; and a host of smoky grays. Occasionally a refracted wave makes a jagged trajectory across the field; zones of color are layered within a vessel; or a human arm (similarly transformed and luminescent) intrudes upon the tableau to grasp a glass or vessel, setting off its own disturbances – e.g., an inverted parabola of light. 'Ghost' lights linger here and there upon the opaque blacks of the bar. In another Untitled series (only one of which is on view here), Barth fixes her thoughtful gaze on an exterior wall – as powerfully and poetically as she does on the classic Morandi motif. This is work that stands in no one's shadow.

View article here

 
 
Kerry Tribe: “Top Five Buddy Cop Films” at Steve Turner, Los Angeles
 


Top Five Buddy Cop Films, Installation view, Steve Turner, March 2017

Top Five Buddy Cop Films

Amanda Ross-Ho & Diedrick Brackens, Larry Johnson & Adam Stamp, Joel Kyack & Lisa Anne Auerbach, Kerry Tribe & Edgar Bryan, Lila de Magalhaes & Roni Shneior, curated by Santi Vernetti

March 23 – April 29, 2017


Top Five Buddy Cop Films is an exhibition of collaborations between five pairs of Los Angeles-based artists, curated by Santi Vernetti.

On paper, the practices of Kerry Tribe and Edgar Bryan couldn't be more dissimilar. Tribe works mostly in film, video, and installation, while Bryan works mostly in painting, book design, and clay. What they share is a collection of overlapping interests and approaches to making. Both explore the boundaries and possibilities of gesture and representation within their chosen mediums. They also share a rich history of collaboration with other artists, friends, and strangers.

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Ann Veronica Janssens: ”MARS” at the Institut d'art contemporain, Villeurbanne/Rhône-Alpes, France
 


© Ann Veronica Janssens. Photo : Isabelle Arthuis

Ann Veronica Janssens

MARS

Institut d'art contemporain - Villeurbanne/Rhône-Alpes

From 24 March to 7 May 2017


1301PE is pleased to announce MARS, a large-scale solo exhibition of Ann Veronica Janssens' work at the Institut d'art contemporain. The entire space will be dedicated to new pieces referring to existing works.

Ann Veronica Janssens bases her work on the act of perception, developing an experimental research through the prism of physical phenomena such as light, colour, sound, or mist. Using stripped-down gestures, the artist activates 'undefined zones' between blindness and revelation. These gestures seek to render manifest the indefinable and transitory nature of the very material of reality. Duration, space, and movement determine their primordial conditions.


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SUPERFLEX: Hyundai Commission for the Turbine Hall, Tate Modern, Britain
 

SUPERFLEX

Turbine Hall, Tate Modern

3 October 2017 - 2 April 2018


1301PE is pleased to announce that Danish collective SUPERFLEX will undertake this year's Hyundai Commission for the Turbine Hall, opening on 3 October 2017. It will be the next in this major series of annual site-specific commissions by renowned international artists.


More information

The New York Times, Superflex Is Chosen for Tate Modern Turbine Hall

The Guardian, Danish artists Superflex next for Tate Modern Turbine Hall

 
 
Artforum: Blake Rayne, Blaffer Art Museum, University of Houston
 


View of "Blake Rayne," 2016–17. Foreground: A Line, 2013. Background, from left: Untitled,
2010; Untitled, 2010. Photo: Peter Molick.


Blake Rayne

BLAFFER ART MUSEUM, UNIVERSITY OF HOUSTON

—Paul Galvez


I have seen the work of Blake Rayne in bits and pieces over the years, and in each instance I have been puzzled by what I like to call the ugly ducklings nestled within his installations. By this I mean the one work out of a gaggle of beauties that seems to be deliberately, aggressively out of place. For example, the yogurt container–cum–projection screen perched on the windowsill of Campoli Presti's London gallery back in 2012 (Yogurt Cinema, 2014). In a mostly pristine exhibition, it stood out like a sore thumb.

Sometimes the clash makes sense. The decision to hang paintings next to their wooden transport crates worked marvelously in the 2008 exhibition "Dust of Suns" at Miguel Abreu Gallery in New York, reminding us, once again, that canvases are objects, too. I therefore waited with bated breath for Rayne's midcareer retrospective, curated by Javier Sánchez Martínez, in which the ugly ducklings, with the additional context that only such overviews can provide, would finally become glorious swans.

Or so I thought. Instead of finding peaceful resolution, Rayne's oeuvre seems at war with itself. Take, for example, the atrium-like entry gallery, the first of the show's two rooms, in which Rayne's well-regarded series of canvases that have been folded, sprayed, and sewn (in that order) are understandably highlighted. However, as if to slight their elegance, a gang of incompatible objects—a book of felt (A Line [Almanac], 2013), glasses on a wood table next to a plant in a cardboard box (Table of Contents, 2010), a plastic bottle (Untitled, 2016)—loiters at the center of the room. I suppose the two sets (paintings and things) share a readymade quality. But even so, their visual incongruity overshadows any sense of filiation.

The placement of works in the second room only accentuates the discord. A small squiggly red, white, and blue canvas, Untitled, 2012, neighbors five of Rayne's iconic wall works from the series "Cover Letter," 2010, featuring felt letter a's drooping off their canvases onto the floor. Since I don't think an homage to Brice Marden's "Cold Mountain" paintings or Robert Morris's antiforms is intended, I can only assume that the disjunction between pictorial and sculptural, smooth and textured, line and letter, is the goal here.

Everywhere you turn, unlike is pitted against unlike, most jarringly whenever one's gaze crosses a towering, eclectically composed mobile of T-shirts, 3-D letters, and a bicycle hanging in the middle of the room. One corner of the room does, however, approach legibility: A pair of Day-Glo, dye-sublimation-printed abstract canvases draped with equally garish vinyl garlands, both Untitled, 2010, are a canny criticism of the arbitrary, decorative impulse underlying so much of today's computer-generated painting. Bracketing these is a pile of the aforementioned felt a's, A Line, 2013, and an André Cadere–esque pole. Altogether, the trio surveys the multiple ways in which color can be used as a sign.

Coming from a lesser artist, such cacophony might indicate a confused mind. But works such as Untitled, 2011, a panel onto which a chart from Cynthia and Harrison White's art-historical text Canvases and Careers (1965) has been silk-screened, show that Rayne is no dummy. The graphic lists by year the number of paintings that each of the Impressionists made over the course of their careers, documenting in numeric form their respective moments of breakthrough. Rayne is all too aware of the complicity between the making and the marketing of art. And indeed, interpretations of his work have tended toward over-cerebralization, earnestly shrouding it in a cloud of semio-speak (abetted by Rayne himself, it must be said). While there is something admirable and even necessary about linking such an artistic practice to the digital and the socioeconomic, I fear that this body of work's most striking feature—namely, the violence of its juxtapositions—has been somewhat downplayed in the artist's critical reception.

It is exceedingly ironic that an oeuvre so hostile to any overarching narrative should so often be explained by one. For it is hard to find a practice with a comparable level of purposeful discontinuity and obfuscation. Rayne's work is neither pastiche nor bricolage, neither assemblage nor pure shock. It would seem that the artist seeks above all to preempt totalization of his practice by any interpretive system, going so far as to refuse to establish a system in the first place. The interpreter's frustration would be akin to sexual frustration, were it not for the fact that the work is so decidedly unerotic. Therefore, the closest thing I can come up with is that emblem of mechanized frustration, the bachelor machine, minus Duchamp's irony and duplicity.

 
 
LA Times: Petra Cortright's digital paintings, a tangled web of dots and swipes
 


Petra Cortright, "man_bulbGRDNopenz@CharlesSchwaabSto9ds," 2016

Petra Cortright's digital paintings, a tangled web of dots and swipes by Christopher Knight

Petra Cortright's paintings wedge themselves between the celebrated history of gestural art, mostly Expressionist and abstract, and the past generation's frantic upheaval of established visual norms generated by the emergence and now ubiquity of digital imagery.

Think of them as touch-screen paintings.

If you've ever done a drag-and-drop, you'll have a general idea of the five recent paintings in Cortright's inaugural solo exhibition at 1301PE. Digging around the Internet and using familiar computer software, she cobbles together pictures, palettes and markings into big, mostly dense and tangled compositions for printing on large sheets of rag paper and Belgian linen.

The squiggly marks on the surface recall the oily, swiped residue left behind by fingers on a smartphone or tablet. The big difference is that actual screen marks are tactile, while the smooth, inert surfaces of Cortright's digitally printed paintings are not. There's some tension between old and new conceptions of "the artist's touch," but as yet it's more cerebral than intuitive.

The intuition comes in the compositions. Cortright piles on loops, swoops, scribbles and slathers, invoking the ironic fusion of personal gesture and impersonal mass-production in Roy Lichtenstein's sleek brushstroke paintings from 1965-66. Where he made big gestures, however, which befit the crushing scale of the banality that had come to engulf Abstract Expressionist art, she taps into the sheer volume of today's roaring digital deluge.

Look closely, and an ancient Greco-Roman sculpture or a bunch of gaily colored pansies pokes through the enormous gestural mass. Nearby, in five flash-animation videos on small flat-screens, animals both real and imaginary — deer, fish, unicorn — likewise cavort through similarly gestural fields. These juxtapositions of digital culture with nature and material culture recall interests in video projections by Diana Thater and Jennifer Steinkamp. They're the work's most compelling feature.

In the relationship between these paintings and animations and the abandon of children's finger-paintings and the wackiness of SpongeBob SquarePants-style cartoons, there's also a hint of playfulness. Given the apparent inevitability of the printed work's inert surfaces, which operate like a visual mute button, Cortright would do well to ramp up that mischievousness.


View article here

 
 
Hyperallergic: Proposing Painting as a Form of Refusal
 


'Blake Rayne: Cabin of the Accused,' exhibition view, Blaffer Art Museum at the University
of Houston


Proposing Painting as a Form of Refusal
by Anthony Hawley


Blake Rayne's first midcareer survey is full of linguistic disruptions and quiet repetitions, bringing to mind Bartleby the scrivener's disarming resistance.

HOUSTON — As our 45th president's chief white house strategist tells the media to "keep their mouth shut," as the newly appointed press secretary chastises everyone for unfairly misrepresenting the 2017 inauguration crowds, and as Kellyanne Conway transmutes alternative facts into reality, one wonders what kind of refusal might counter refusal itself. Given a political machine working overtime to silence any competing versions of the truth, how does one counterattack a far right-extremism that touts falsehoods as "telling it like it is"? Like Tom Huhn, chair of Visual and Critical Studies at the School for Visual Arts in New York, put it in a recent piece in the New Yorker, "Part of what makes Trump attractive to many is that he practices a kind of great refusal himself, saying no to just about everything, and thereby appearing to be on the side of human beings liberating themselves from restrictions and hierarchies." As we enter a global political climate where the alt-right is on the rise and a large constituency is convinced that it's being "liberated" by a particular form of refusal, how does one form a refusal of another kind, one that resists and retrieves difference?

One avenue might be something akin to Herman Melville's infamous "Bartleby, the Scrivener: A Story of Wall Street." In it, a Wall Street lawyer hires a new clerk who, after an intense period of impressive work, simply refuses to make another copy or do any of the other office tasks expected of him. Whenever the lawyer asks Bartleby to do something, Bartleby quietly utters, "I would prefer not to." The phrase beguiles the lawyer: It's not exactly a bold-faced rebuttal, nor is it walk-out, a workers' strike on the streets. While the lawyer continues to press Bartleby to do various tasks, the scrivener instead does less and less. Bartleby eventually starts living in the office as he maintains his staunch and paralyzing "I would prefer not to."

I thought about Bartleby while viewing Blake Rayne: Cabin of the Accused at the Blaffer Art Museum at the University of Houston. Rayne's first midcareer survey is full of linguistic disruptions and quiet repetitions, bringing to mind the scrivener's disarming resistance. Wall Street doesn't know the act of "preferring not to" — the simple statement has so much power not just because it interrupts but because it also creates a lingering silence in its lack of alternatives. For me, Rayne's oeuvre and exhibition embody a similar act in the various refusals.

View article here

 
 
T Magazine: Protest Art in the Era of Trump
 


"untitled (the tyranny of common sense has reached its final stage, new york times,
november 9, 2016)," 2016, acrylic and newspaper on linen, 89 1/4" x 73 1/4".


Protest Art in the Era of Trump by M.H. MILLER

Rirkrit Tiravanija

Some of the most famous works of the Thai artist Rirkrit Tiravanija eschew traditional art objects in favor of social interventions, including cooking large meals in galleries and at events like Frieze Art Fair. This painting, "untitled (the tyranny of common sense has reached its final stage, new york times, november 9, 2016)," was made directly following the election, and debuted at Art Basel Miami Beach last December.

"I've been using newspapers for a long time now, and I draw from long lists of quotes floating in my head. It is an ongoing project at this point. In newspapers, I see the contradictions of reality and fiction play out. 'The tyranny of common sense has reached its final stage' is a quote from Aldo van Eyck, perhaps taken out of context, but in the wake of the recent election, the quote resonates."

View article here

 
 
The Art Newspaper: How an art work could literally save lives in Syria
 


SUPERFLEX, Hospital Equipment (2014) (Image: Anders Sune Berg,  courtesy the artists)


How an art work could literally save lives in Syria by Jose Da Silva

Danish collective SUPERFLEX's hospital equipment installation will be shipped to war-torn country after exhibition


The Danish art collective SUPERFLEX will unveil today (17 February) a new installation called Hospital Equipment, which consists of functioning surgical equipment that will be shipped to a Syrian hospital once the exhibition is over. The collective describe the work as "a ready-made upside down, since we not only take a ready-made object into an art context, but we bring it back into the world again".

The surgeon's table, surgical tools and mobile lamp that form the work at the Von Bartha gallery in S-chanf, Switzerland, will be packed-up and transported to the Salamieh Hospital in Hawarti, a village in the southwestern Hama region, following the dismantling of the show on 18 March. All that will be left of the work will be three "slightly different and unique" photographs, a gallery spokeswoman says, while the rest of the piece carries out its practical functions in the hospital. But, "as much as it is an operation table in the gallery, it is an artwork inside the hospital," the artists say.

View article here


 
 
Ana Prvacki: Shunga lecture-performance at the Boghossian Foundation, Brussels
 


Ana Prvački collection, estampe Shunga, 1920

Boghossian Foundation – Villa Empain, Brussels

Shunga, the Japanese Erotic Prints



Lecture-performance by Ana Prvački


1 February 2017, at 7 pm


In the framework of Embassy of Uncertain Shores, Ana Prvački will hold a lecture-performance on Shunga. The word Shunga means erotic art in Japanese and refers to graphic images of sexual activity. The intentions of Shunga are: stimulation, consolation, seduction, education, veneration and amusement. Their influence is profound and inspiring.


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Philippe Parreno: "A Time Coloured Space" at Serralves Museum of Contemporary Art, Porugal
 


Philippe Parreno, Speech Bubbles (Gold), 2015 Photo: Andrea Rossetti


Philippe Parreno

A Time Coloured Space

Serralves Museum of Contemporary Art, Porto, Portugal

3 February 2017 – 1 May 2017


The Serralves Museum of Contemporary Art presents A Time Coloured Space, a major exhibition by French artist Philippe Parreno, his first in Portugal. Curated by the Director of the museum, Suzanne Cotter, the exhibition will span thirteen rooms, across two floors, occupying the museum's entire building.


The exhibition is structured on the mathematical model of the fugue, and conceived around the idea of the counterpoint, or ritournelle, a principle whereby a particular passage is repeated at regular interludes within a musical arrangement to create compositional meaning. Governed by a similar method, A Time Coloured Space is determined not by its 'objects', but by the regularity and rhythm of their appearance, featuring some of Parreno's most emblematic work dating back to the 1990s.


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1301PE at ALAC
 

 
 
Ana Prvacki: "Tent quintet, bows and elbows" at Art Catalogues at LACMA
 

Ana Prvacki's Tent, quintet, bows and elbows

Art Catalogues at LACMA

Sunday, 15 January  4 pm to 6 pm


The tent will activate at 4:15pm | performed by Lyris Quartet

Talk, reception and book signing to follow

 
 
Ana Prvacki: "Daily practice, tuning" performance at Ming Contemporary Art Museum, Shanghai
 


Daily practice, tuning, performance piece, Castello di Rivoli performance, 2009

Ana Prvacki, Daily practice, tuning performance

Ming Contemporary Art Museum, Shanghai

24 December 2016 - 12 February 2017


At McaM Ana Prvački will present her Wandering Band/Performing Daily Practice series. The work was performed at Castello di Rivoli (2009), Pompidou (2010), Isabella Stewart Gardner Museum (2010-2011) and Highline NYC (2010) and will be developed for the context of Shanghai. Prvački will invite local music makers of various and diverse training to the McaM and they will be given free reign to perform their daily practice of scales, tonal exercises, and trills while roaming through the galleries and exploring the visual and acoustic environment of the museum, transforming the museum into a lyrical set. This gesture challenges the way we as individuals (both performers and audiences) physically and aurally perceive space while demystifying the labor of practice.

Every day at the musicians will gather in an attempt to harmonize without a fixed given note. They will bring their traditional Chinese and Western classical training and intuitively work together to find their way into and out of sonic chaos while exploring the conventional time-space limitations of culture and geography, searching for a universal sound of humanity. The tuning will take place around a microphone and the 15 minute exercise will be broadcast through a speaker out onto the street.

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Jack Goldstein: "Art Center Talks" Book Launch at 365 Mission, Los Angeles
 

Art Center Talks: Graduate Seminar, The First Decade 1986-1995

Book launch & panel discussion on Sunday, December 11th at 365 Mission

3-5pm Panel Discussion / 5-6pm Public Reception


ArtCenter College of Design's Graduate Art MFA program announces the publication of the first of three volumes of ArtCenter Talks, a collection of transcripts of lectures given by artists, theorists and historians throughout the program's thirty-year history. For this inaugural volume, Stan Douglas, who joined the Graduate Art faculty in 2009, chose 13 lectures from among hundreds that he deemed best represented the scope and range of the first decade of the program and its guests.

To celebrate the book's publication, on December 11, Douglas will moderate a roundtable discussion at 356 Mission Rd. in Los Angeles that will include former faculty, alumni and visiting artists (Meg Cranston, Stephen Prina, Diana Thater, T.J. Wilcox) who participated in the "Graduate Seminar" during the decade covered by this first volume.

Contributions by: Beth B, Rosetta Brooks, Luis Castro Leiva, Meg Cranston, Charles Gaines, Jack Goldstein, Felix Gonzales-Torres, Susan Hiller, Roni Horn, Kellie Jones, Mike Kelley, Justen Ladda, Thomas Lawson, Sylvere Lotringer, John Miller, Constance Penley, Brian Routh, Mira Schor, Allan Sekula, Robert Storr, Lynne Tillman

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Fiona Connor: "Ma" at Chateau Shatto, Los Angeles
 

Ma

December 10 - January 14

Chateau Shatto

406 W Pico Blvd, Los Angeles, CA 90015


Ma is an exhibition curated by Fiona Connor at Château Shatto, sprung from the artist's encounters with the photographic archives of Frank J. Thomas.

For Ma, Connor has composed a group of works that she understands as being nourished by similar concerns that she first responded to in Frank J. Thomas' photographs, more specifically his documentation of the paintings of John McLaughlin. Ma includes works by Judy Fiskin, Sydney de Jong, John McLaughlin, Frank J. Thomas, Audrey Wollen, Bedros Yeretzian and Fiona Connor. The exhibition design has been undertaken by Sebastian Clough.

Ma is the culmination of a series of projects by Connor including a display case at the Auckland Art Gallery, a lecture at Elam School of Fine Arts at University of Auckland and an exhibition at Minerva in Sydney, Australia. This exhibition takes Connor's research back to Los Angeles, where it began.

 
 
Arteviste: An Interview with Internet Artist Petra Cortright in Los Angeles, California
 


Portrait courtesy of Petra Cortright's studio.

An Interview with Internet Artist Petra Cortright in Los Angeles, California by Flora Alexandra Ogilvy


FO:Was there a pivotal moment when you decided to be an artist?

PC: no its just always been an affliction that i've suffered from my whole life

FO: Can you tell us about the process of making your artwork?

PC: i troll the internet for scraps to use, and then i use some of those scraps, change some scraps around, break up some of the scraps, put some scraps back together, add my own scraps and scratches, do this all of this very quickly -- and then post it. sometimes i print it out later, sometimes i don't.

FO: What is your favourite art gallery in Los Angeles and why?

PC: and/or gallery just re-opened in pasadena after years of hiatus. originally it was in dallas, tx.  i've always had a huge respect for paul slocum and the community of artists that he has supported, we have all been a tight knit group of nerds for years now. i am thrilled to be working with brian butler of 1301PE now, brian and the gallery are both so cool and for lack of a smarter word so chill and we just get on so well. 1301PE is also in an area that feels so 'LA art' to me and i just love the way that gallery is set up, i always love an upstairs/downstairs situation like that. also maybe because its by LACMA but i just have always deeply loved that area. it just seems so so so classic LA. palm tree emoji.


View article here

 
 
Philippe Parreno: "Thenabouts" at ACMI, Australia
 


Philippe Parreno, The Crowd, 2015 (film still) © Philippe Parreno, Courtesy Pilar Corrias,
Barbara Gladstone, Esther Schipper


Philippe Parreno: Thenabouts

Australian Centre for the Moving Image

6 December 2016 - 13 March 2017

For his first solo exhibition in Australia, Philippe Parreno activates a singular retrospective of his filmic works as a cinematic ensemble in which the artist's films play with temporal and spatial boundaries, guiding the visitor through a complex journey of images, duration, memory, and the passage of time. Controlled live by a gallery technician, no one visit is ever the same.

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Artnet: In Miami, Artists Rirkrit Tiravanija and Tomas Vu Will Teach You How to Surf
 


Rirkrit Tiravanija and Tomas Vu Model for RT TV Boards at UNTITLED, Miami Beach
(2016). Courtesy of the artists and Nathalie Karg Gallery.

In Miami, Artists Rirkrit Tiravanija and Tomas Vu Will Teach You How to Surf
by Brian Boucher

One of the keys to surviving Art Basel week in Miami Beach is taking advantage of the Atlantic Ocean, and artists Rirkrit Tiravanija and Tomas Vu found the perfect way to bring the experience of art and surf together this year in a joint work titled DO WE DREAM UNDER THE SAME SKY. Billed as a "surf inspired participatory installation," they're offering custom-designed surfboards for UNTITLED visitors to get out into the water.

View article here

 
 
Ana Prvacki: "A Song for Rio" at Galeria Fortes Vilaça, Rio de Janeiro
 


Ana Prvacki, "Various keys," 2014, gel pen on gampi paper, 10.5 x 7.25 inches

Uma Canção para o Rio / A Song for Rio


Galeria Fortes Vilaça

Rio de Janeiro


PART I November 22, 2016 – January 19, 2017

PART II February 4 – March 18, 2017


What lives in the zone between the world of objects and the realm of music? A Song for Rio brings together a group of Brazilian and international artists who each in their own way attempt to answer this question by undertaking a poetic investigation of the intersection of art and music.
A collaboration between Galeria Fortes Vilaça and Douglas Fogle & Hanneke Skerath.

Artists (part 1): Allora & Calzadilla, Ana Prvački, Anne Collier, Bárbara Wagner & Benjamin de Búrca, Bruce Conner, Cabelo, Cerith Wyn Evans, Chelpa Ferro, Christian Marclay, Dave Muller, Ernesto Neto, Jac Leirner, Kelley Walker, Los Carpinteros, Mark Leckey, Nuno Ramos, Paulo Garcez, Rivane Neuenschwander, Susan Philipsz, Vivian Caccuri

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Jorge Mendez Blake: "Nocturnos" at Travesia Cuatro, Madrid
 


Jorge Mendez Blake, Todos los nocturnos de Villaurrutia I (Nocturno, Nocturno miedo, Nocturno
grito, Nocturno de la estatua, Nocturno en que nada se oye, Nocturno sueño)
, 2016


Jorge Mendez Blake: Nocturnos

19 November 2016 - 10 February 2017


Travesia Cuatro

San Mateo 16

28004 Madrid


On this occasion, the artist has set his focus on the "nocturne", a musical genre cultivated primarily during Romanticism and Modernismo, the late-nineteenth and early-twentieth century Spanish-American literary movement led by poets and writers such as Rubén Darío, Leopoldo Lugones, Federico García Lorca and José Asunción Silva, among others. The Nocturne, was popularized in Mexico by the group Los Contemporáneos, whose members included Salvador Novo, Antonieta Rivas Mercado, José Gorostiza and Xavier Villaurrutia. Who used it as the backbone of his book Nostalgia de la muerte, that would become a benchmark in twentieth-century Mexican poetry.

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Fiona Banner: "Au Cœur des Ténèbres" at mfc-michele didier gallery, Paris
 

FIONA BANNER: Au Cœur des Ténèbres

November 18, 2016 - January 7, 2017


mfc-michèle didier


66rue Notre-Dame de Nazareth

F-75003 Paris


On this occasion, Fiona Banner - who continuously investigates the slippage between object, image and text through the prism of graphic and editorial works - has hinged the exhibition on her adaptation of Joseph Conrad's novella Heart of Darkness.

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SUPERFLEX: 11th Shanghai Biennale
 

SUPERFLEX presents Pigs, Time and Space for the 11th Shanghai Biennale 'Why Not Ask Again?'


11th Shanghai Biennale

11 November 2016 - 12 March 2017


Pigs, Time and Space is a new film installation that addresses the exchange of pigs between Denmark and China. With a pig as the main protagonist Pigs, Time and Space is set in a dream-like universe unfolding the highlights of a historical loop from I Ching, the ancient Book on Divination, to the Schjellerup crater on the moon.

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Fiona Connor: "Brick, Cane and Paint" at Hopkinson Mossman, Auckland, New Zealand
 


Fiona Connor, Brick, Cane and Paint, 2016, installation view: Hopkinson Mossman, Auckland


Fiona Connor

Brick, Cane and Paint

12 November - 22 December 2016


For Brick, Cane and Paint, Connor presents work from three new notice board projects (quoted from three sites: a brick plant and a cane factory in Los Angeles, and a weavers guild in Auckland) alongside a new series titled Insert (Chopping Board).

Where previously Connor's work has focused on bulletin boards from public spaces (such as city parks, libraries, community centres etc.), the sculptures in Brick, Cane and Paint represent activity at specific sites of production, with content generated by a fixed group of individuals. Notice Board (Pacific Clay), the set of six boards in the small and large galleries at Hopkinson Mossman, are quoted from Pacific Clay; a brick plant frequented by the artist. The Pacific Clay boards are punctuated by a single piece from the Handweavers and Spinners Guild in Mt Eden (a community organization close to the artist's childhood home), and the boards that hang in the gallery's office spaces are from Cane and Basket Supply, a workshop near the artist's Los Angeles studio.

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Artforum critics' picks: “Fiona Connor, Sydney de Jong, Audrey Wollen” at Minerva, Sydney
 


Fiona Connor, All the doors in the walls, 2016, installation view, Minerva

Fiona Connor, Sydney de Jong, Audrey Wollen at Minerva by Claudia Arozqueta


Minerva

4/111 Macleay Street, Potts Point

October 29–December 10


Three artists whose work seems both conceptually and materially dissimilar and five press releases with different interpretations can be found here, though the title of Fiona Connor's All the Doors in the Walls, 2016, is to be taken literally. Each door in the gallery was stripped of its function; they no longer serve as mediators or passages from one place to another but as static objects of art, disposed toward admiration for their simplicity.

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Artforum critics' picks: Petra Cortright at Carl Kostyal, London
 


Petra Cortright, royal-chat—dispatchesSCANFERLA{ROM-adventures4tattoo-gun}.resx,
2016, digital painting on Sunset Hot Press rag paper, 42 x 30".


Petra Cortright at
Carl Kostyal, London by Valerie Mindlin


Carl Kostyal | London

12A Savile Row

October 5–November 19


To call Petra Cortright an internet or post-internet artist would be similar to calling Matisse and Monet paint artists. They were painters all right, but that's not really saying much, is it? There is, in Cortright's work, a mesmerizing core of formalism, a newly relevant medium specificity for the cognitive gluttonous distraction of the brazenly immaterial.

"ORANGE BLOSSOM PRINCESS FUCKING BUTTERCUP," Cortright's first solo exhibition at this gallery's London location, brings the manifold beguilements of her digital steamrolling into a tightly delightful showcase of canvases and flat-screen videos. And "flat-screen" is the operative word here. Cortright composes her pieces by layering their copious constituent files into final pancake of Photoshop "mother files." Such works flatten the layered and immersive aspects of the digital economy, simultaneously parading and exacerbating its manipulative properties. Cortright's mother files are built up from the endless iteration of what are profoundly private visual, temporal, and spatial entities. They are the wet-dream actors of adolescent sexual rehearsals, solipsistic webcam posturing, and distracted-browsing self-indulgence. Would you ever act out a real-life equivalent to an emoji in a conversation? Of course not. Cortright's works disrupt the comforting stability that would confine the digital to the servilely personal, and make a frantically gorgeous show of it.

Where Impressionism's heyday hypnotized us with its dynamic vibrancy in indulging the wondrous relish of the ordinary, Cortright's new digital formalism unmoors the cognitive comforts of the private in a seductive sumptuousness of pageantry and inexhaustible possibilities.

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ART 21 Magazine: The Variations of its Shadows - An Interview with Jorge Méndez Blake
 


Jorge Méndez Blake. The Art of Loving, 2009. 10 ladrillos, edición de The Art of Loving de
Erich Fromm / 10 bricks, edition of Erich Fromm’s The Art of Loving, 24 x 8 x 4 cm.
Courtesy of the artist.

The Variations of its Shadows: An Interview with Jorge Méndez Blake

 
 
Kerry Tribe: Biennale of Moving Images, Centre d'Art Contemporain Genève
 


A still of the Los Angeles River from Kerry Tribe's "Exquisite Corpse" 2016.

Kerry Tribe: Exquisite Corpse

Biennale de l'Image en Mouvement

Centre d'Art Contemporain Genève

November 9, 2016–January 29, 2017


Opening week: November 9–13, with a program of performances, special screenings, conversations and round tables

Vernissage: November 9, 6–9pm


1301PE is pleased to announce Kerry Tribe's participation in the celebrated Biennale de l'Image en Mouvement (Biennale of Moving Images) at the Centre d'Art Contemporain Genève, Switzerland. Tribe's contribution, Exquisite Corpse, was commissioned for the 2016 CURRENT:LA Biennial and will be presented for the first time as a three-channel installation.


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FLAUNT: Colorvision - Artist Diana Thater’s Solo Exhibition at 1301PE
 


Diana Thater, "Colorvision," 2016. Installtion view, 1301PE. Image by Fredrik Nilsen.

Colorvision: Artist Diana Thater's Solo Exhibition at 1301PE by Sid Feddema

L.A.-based artist Diana Thater's mind-bending artwork is so effective in part because of an often overlooked aspect of her artistic process–installation. Thater deeply considers setting in her work, and utilizes space in a way that that emphasizes the architecture and the surfaces upon which she shows her pieces so that the room itself becomes a part of the art. Fortunate, then, that the 1301PE Gallery at 6150 Wilshire Blvd., within spitting distance of the LACMA (where Thater was recently honored with a comprehensive mid-career survey), offers beautiful territory for her explore in her ninth exhibition with the gallery, titled Colorvision, and currently on view until November 5th.

Thater's highly innovative work has been transformative in the world of projection art and video installation. Since the early '90s she has continued to expand the medium in which she works, incorporating a formal and technical element into her artmaking process. This embrace of technology may seem at first thematically incongruent with the subjects of her artwork, which often explore the conflicts between human culture and civilization and nature, but Thater insists that "visible technology, beauty and pleasure (which are one and the same) are not antithetical to one another but may exist simultaneously in the work of art and may produce the sublime."

As 1301PE Gallery describes the series, "Colorvision consists of 8 individual monitor pieces. Each vertically-hung monitor displays the name of a color along with a bouquet of flowers in a different, complimentary, color. The colors used are those of the video spectrum: red, green, blue (primaries); cyan, magenta, yellow (secondaries); purple and orange (tertiary). The word "RED", for example, appears with cyan flowers, while the word "CYAN" appears with red flowers. The series is based on a neurological test that is given to people to decipher the relationship between sensation and language." Thater is interested in this conflict in how we discern visual and textual information, and she suggests that it illuminates something fundamental in how we perceive art: "It's especially difficult for a viewer to think about color and language simultaneously and the dichotomy, when shown one color but asked to read the name of it's opposite, forces a rupture between the two. The question is: Does reason or sensation dominate our experience of art?"

It's been a busy year for Thater and there's no sign she's slowing down, with a solo show opening last week at the MCA in Chicago and more showings in the pipeline for this year. Catch Colorvision while you can though–it closes this week and it should not be missed.

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e-flux: On Snow Dancing, Phillipe Parreno
 


Phillipe Parreno, Snow Dancing, 1995. Installation detail.

On Snow Dancing by Ina Blom

Some twenty years ago, the effects of an expanding regime of design were starting to be felt in the field of contemporary art. Increasingly, designers seemed to use art contexts as platforms for non-pragmatic reflection and expression. Increasingly, design was also becoming a catalyst in so-called "social" art practices, artistic efforts to engineer or test drive new social and/or economic relations. In the work of collectives like Superflex or Atelier van Lieshout, for instance, design was an all-important feature of their manufacture of innovative objects or technical solutions, as well as the branding of the groups themselves. Concerned discussions about the aestheticization of anything and everything abounded: design should, apparently, know its place. But this new design ubiquity might have actually been grounded less in a political appeal to the senses over reason than on rapidly expanding processes of informatization and a growing preoccupation with their social and economic effects. A wider concept of design thus established itself: defined as "the conception and planning of the artificial," design reflected the fact that, with computation, it was no longer the final outcome of a process, but an interdisciplinary activity embedded in all aspects of production. This was "design thinking," a systematic approach to a plastic environment that more than ever seemed subject to human construction and control.

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Philippe Parreno & Rirkrit Tiravanija: Dreamlands at the Whitney
 



Whitney Museum of American Art

Dreamlands: Immersive Cinema and Art, 1905–2016

October 28, 2016 - February 5, 2017


Dreamlands: Immersive Cinema and Art, 1905–2016 focuses on the ways in which artists have dismantled and reassembled the conventions of cinema—screen, projection, darkness—to create new experiences of the moving image. The exhibition will fill the Museum's 18,000-square-foot fifth-floor galleries, and will include a film series in the third-floor theater.

Dreamlands spans more than a century of works by American artists and filmmakers, and also includes a small number of works of German cinema and art from the 1920s with a strong relationship to, and influence on, American art and film. Featured are works in installation, drawing, 3-D environments, sculpture, performance, painting, and online space, by Trisha Baga, Ivana Bašić, Frances Bodomo, Dora Budor, Ian Cheng, Bruce Conner, Ben Coonley, Joseph Cornell, Andrea Crespo, François Curlet, Alex Da Corte, Oskar Fischinger, Liam Gillick, Dominique Gonzalez-Foerster, Pierre Huyghe, Alex Israel, Mehdi Belhaj Kacem and Pierre Joseph, Aidan Koch, Lynn Hershman Leeson, Anthony McCall, Josiah McElheny, Syd Mead, Lorna Mills, Jayson Musson, Melik Ohanian, Philippe Parreno, Jenny Perlin, Mathias Poledna, Edwin S. Porter, Oskar Schlemmer, Hito Steyerl, Rirkrit Tiravanija, Stan VanDerBeek, Artie Vierkant, and Jud Yalkut, among others.

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Diana Thater "The Sympathetic Imagination" at MCA Chicago
 


Diana Thater, Delphine, 1999. Installation view, Los Angeles County Museum of Art, 2015–16.
© Diana Thater Photo: © Fredrik Nilsen


Diana Thater: The Sympathetic Imagination

Museum of Contemporary Art, Chicago

29 October 2016 - 8 January 2017


1301PE is pleased to announce the opening of Diana Thater: The Sympathetic Imagination at the Museum of Contemporary Art, Chicago. The exhibition originated at the Los Angeles County Museum of Art.

Among the most important artists to emerge during the 1990s, Los Angeles–based Diana Thater creates groundbreaking and influential works of art in film, video, and installation that challenge the normative ways in which moving images are experienced. Her dynamic, immersive installations address key issues that span the realms of film, museum exhibitions, the natural sciences, and contemporary culture through the deployment of movement, scale, and architecture.

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The Guardian: Philippe Parreno's Turbine Hall review
 


A young visitor to Philippe Parreno's Turbine Hall installation. Photograph: Guy Bell/Rex/Shutterstock

Philippe Parrenos's Turbine Hall review- mesmerizing and unmissable by Adrian Searle

Hyundai Commission 2016: Philippe Parreno is at Tate Modern from 4 October 2016 to 2 April 2017


The length and height of Tate Modern's Turbine Hall is alive with ripples and rivers of pulsing light. High above, the box-like viewing balconies on the side walls throb and wink as light travels from one end of the building to the other, reflected and multiplying on glass walls and casting aberrant forms on the concrete. Here comes a plane, droning invisibly through the hall's indoor sky. And then it is gone.

Anywhen is astonishing, mesmerising, magnificent and unmissable. It is filled with constant surprise. But superlatives aren't sufficient. Over this weekend, I spent five or six hours here during technical rehearsals and run-throughs, and still can't say that I have seen and heard everything.

Anywhen is one of the very best Turbine Hall commissions, filling the space with sounds and furies, grand and small events, stillness and movement, noises and light and silence. Parreno likens it to a public park, where different events and a constantly changing tempo orchestrates the day. He also likens the commission to a kind of instrument that he is only now beginning to learn to play.

View article here


 
 
Diana Thater: ART21 SHORT
 

SHORT: Diana Thater: "Delphine"

Artist Diana Thater discusses her interest in improving the lives of both humans and animals through art and activism. Speaking from the site of the former Los Angeles Zoo, Thater describes her activism as being focused on "anti-captivity." As an activist she has worked with Ric O'Barry and the Dolphin Project to bring attention to the sale and slaughter of dolphins in Japan's Taiji cove. Thater's multi-channel video installation "Delphine" (1999) is shown in the artist's solo exhibition, "The Sympathetic Imagination," at Los Angeles County Museum of Art last year. In the work "you can see a dolphin spinning underwater and you can almost feel it." Thater hopes "Delphine" generates a sympathetic response from the viewer and creates a new way to communicate between species. "My life as an artist is a different one," says Thater. "The politics are much more subtle."

Video here


 
 
Uta Barth and Jorge Pardo: L.A. Exuberance: New Gifts by Artists at LACMA
 


Uta Barth, "…and to draw a bright white line with light (Untitled 11.5)," 2011. 

L.A. Exuberance: New Gifts by Artists

LACMA

BCAM, Level 3

October 30, 2016 – April 2, 2017


Since LACMA's establishment, living artists have played an instrumental role in understanding the museum's encyclopedic collection through a contemporary lens. L.A. Exuberance: New Gifts by Artists features a selection of works given to the museum for its 50th anniversary, as part of an unprecedented campaign led by artist Catherine Opie. Featuring over sixty gifts, the exhibition includes additions to the collection by Edgar Arceneaux, John Baldessari, Uta Barth, Larry Bell, Tacita Dean, Sam Durant, Shannon Ebner, Charles Gaines, Ken Gonzales-Day, Glenn Kaino, Friedrich Kunath, Sterling Ruby, Analia Saban, James Welling, Mario Ybarra Jr., and Brenna Youngblood.

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The New York Times: The Mission to Save Vanishing Internet Art
 


An image from Petra Cortright’s video “VVEBCAM.” Credit Petra Cortright/Foxy Production

The Mission to Save Vanishing Internet Art by Frank Rose

In the early days of the web, art was frequently a cause and the internet was an alternate universe in which to pursue it. Two decades later, preserving this work has become a mission. As web browsers and computer operating systems stopped supporting the software tools they were built with, many works have fallen victim to digital obsolescence. Later ones have been victims of arbitrary decisions by proprietary internet platforms — as when YouTube deleted Petra Cortright's video "VVEBCAM" on the grounds that it violated the site's community guidelines. Even the drip paintings Jackson Pollock made with house paint have fared better than art made by manipulating electrons.

View article here

 
 
Ann Veronica Janssens: video screening at Palais de la Découverte, Paris, France
 


Ann Veronica Janssens, Chasseurs d'éclipses en Mongolie, 2008
. Collection IAC,
Villeurbanne/Rhône-Alpes

Les collections vidéos des FRAC - Projection spéciale FIAC

Organized by Institut d'art contemporain

From 19 to 22 October, 2016


Palais de la Découverte

Avenue Franklin Delano Roosevelt

75008 Paris, France


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Blake Rayne: Blaffer Art Museum
 


Blake Rayne, Untitled, 2013, acrylic & walnut shell on canvas, 24 x 18 inches

Blake Rayne: Cabin of the Accused

22 October 2016 - 18 March 2017


Blaffer Art Museum

4173 Elgin Street

Houston, TX 77004


1301PE is pleased to announce the opening of Blake Rayne: Cabin of the Accused, at Blaffer Art Museum, the first midcareer survey of the New-York-based artist. The exhibition features major works completed from 2003 to the present which showcase the breadth of his work in various media including in painting, sculpture, printmaking, and installation.

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Angela Bulloch & Rirkrit Tiravanija, Okayama Art Summit 2016, Japan
 


Rirkrit Tiravanija's 'Untitled 2016 (this is A, this is A, this is both A and not-A, this is neither
A nor not-A)' 2016. Japan Times, Cameron Allan McKean.

Okayama Art Summit 2016 - Development

Okayama, Japan

October 9 – November 27, 2016

Okayama Art Summit 2016 is the first edition of a new triennial contemporary art exhibition to be held in Okayama, Japan. Thirty-one artists from all over the world have been invited to participate, including Cameron Rowland, Rirkrit Tiravanija, Rachel Rose, Angela Bulloch, Dominique Gonzalez-Foerster, Katja Novitskova, Trisha Baga, Joan Jonas, Pierre Huyghe, and Peter Fischli and David Weiss. Some of the venues designated for the summit are Okayama Castle, the Hayashibara Museum of Art, the former Fukuoka Soy Sauce Factory, the Okayama Prefectural Museum of Art, and the Korakukan Tenjin School.

"All the artists involved in the exhibition play with structures—ideological, formal and political. They do this in very specific ways. Each artist layers their work upon what they encounter. They offer various levels of distance to the given structure. And leave us with different strata for encounter, examination, and experience." - Liam Gillick, Artistic Director

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Angela Bulloch, Simon Lee Gallery, Hong Kong
 


Angela Bulloch, installation view, Simon Lee Gallery, Hong Kong

Angela Bulloch: One way conversation...

Simon Lee Gallery, Hong Kong

14 October - 19 November 2016

One way conversation… is a continuation of Bulloch's latest body of work presented last year in Considering Dynamics and The Forms of Chaos at the Sharjah Art Museum, UAE and L'ALMANACH 16 at the Le Consortium Dijon, France. Formed in steel and MDF, the stacked columns of polyhedra have a stylized geometry and manufactured surface sheen that alludes to minimalism and technology. Often apparent in Bulloch's installations where technology mediates interaction with the work, is her interest in cybernetics, fundamental themes of biological, social and technological systems, and the integration of the human subject with technology.

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SUPERFLEX receives the Aga Khan Award for Architecture for Superkilen
 


Superkilen park in Copenhagen

Together with co-creators BIG and Topotek1, SUPERFLEX is awarded the prestigious Aga Khan Award for Architecture for the artistic contribution to the Copenhagen urban space Superkilen.

The Aga Khan Award for Architecture is given every three years to projects that set new standards of excellence in architecture, planning practices, historic preservation and landscape architecture. Aga Khan writes of Superkilen:

'Superkilen, a new urban park in one of Copenhagen's most diverse and socially challenged neighbourhoods, emphatically rejects this view with a powerful mixture of humour, history and hubris. (…) It fuses architecture, landscape and art in a truly inter-disciplinary manner, providing new opportunities for shared public engagement.'

Superkilen (2013) is an eight hundred metres long urban park project wedging through one of the most ethnically diverse and socially challenged neighborhoods in Denmark. It is imagined as a giant exhibition of urban best practice with furniture and everyday objects nominated from the future users. Ranging from exercise gear from Muscle Beach in LA, to a playground octopus from Japan and palm trees from China, Superkilen is a collection of global found objects that derive from 60 different nationalities representing the local inhabitants.

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Philippe Parreno: Tate Modern's Turbine Hall Commission
 


Philippe Parreno today unveiled his new installation, Anywhen, for the Tate Modern's annual
site-specific Turbine Hall commissions, sponsored by Hyundai. Courtesy of Tate Photography

Philippe Parreno: Anywhen

Hyundai Commission

Tate Modern, Turbine Hall

4 October 2016 - 2 April 2017

1301PE is pleased to announce the opening of Philipe Parreno's exhibition, Anywhen, at Tate Modern's Turbine Hall. Please visit the Tate Modern website here for more information.

 
 
LA Times: Wrapped in stretchy fabric, orchestral musicians become performance art at Green Umbrella festival
 


Venice artist Ana Prvacki uses fabric to translate musicians' movements into an unusual
visual soundtrack. (Christina House / For The Times)

Wrapped in stretchy fabric, orchestral musicians become performance art at Green Umbrella festival by Catherine Womack

This Saturday, five members of the Los Angeles Philharmonic's double bass section will convene, bare-footed, inside a giant sack of stretchy, shimmering white fabric in Walt Disney Concert Hall.

Zipped inside the opaque pocket, the musicians will set up their instruments, transforming the amorphous fabric into a makeshift tent with the help of the basses' tall, pole-like necks. As they play, the tent will quiver and flex with each jab of a bow or poke of an arm.  

Titled "Porcupine for tent, quintet, bows and elbows," the piece was conceived by artist Ana Prvacki and features new music by composer Veronika Krausas. Commissioned by the Los Angeles Philharmonic, "Porcupine," will be just one of many experimental pieces being performed throughout Walt Disney Concert Hall on Saturday at "Noon to Midnight," a one-day festival that launches the 2016-17 season of Green Umbrella, the orchestra's contemporary music series.

 
 
Blake Rayne: Campoli Presti, Paris
 


Blake Rayne, installation view, courtesy of Campoli Presti, Paris

Blake Rayne: Paris

22 September - 15 October 2016

Campoli Presti, Paris

 
 
Diana Thater: ART21
 



ART21 Art in the 21st Century Season 8

Los Angeles episode featuring Diana Thater

Friday, September 23, 9:00pm on PBS (check local listings)

ART21 produces features focusing exclusively on contemporary visual art and artists throughout the world. The Peabody Award-winning biennial series ART21 Art in the Twenty-First Century provides unparalleled access to the most innovative artists of our time, revealing how artists engage the culture around them and how art allows viewers to see the world in new ways.

Full episodes will be available to stream online on the days following each episode's national broadcast through ART21.org, PBS.org/art21, and PBS streaming apps.

 
 
1301PE at Paris Internationale 2016
 

PARIS INTERNATIONALE

19–23 October 2016

51, avenue d'Iéna, 75116 Paris

1301PE is pleased to participate in Paris Internationale. We are presenting works by Fiona Banner, Fionna Connor, Kirsten Everberg, Judy Ledgerwood, Jorge Méndez Blake, Ana Prvački, Blake Rayne, Diana Thater and Pae White.

Continuing the sentiment of its inaugural edition, Paris Internationale's 2016 edition will take place at 51 Avenue d'Iéna Paris, a hôtel particulier built in 1897, most notably known as the Parisian residence and salon of prominent art collector Calouste Gulbenkian. From October 18th to the 23rd, the four story mansion, which spans over 3,000 m2, will host 60 participants including 53 galleries and 7 project spaces hailing from 19 countries. Echoing the plural identities of the participants, the building will feature a mosaic of rooms with strikingly specific characteristics. Responding to the current climate of art fairs in regards to both its production and reception, Paris Internationale is a joint initiative from 5 emerging galleries; Crèvecoeur, High Art, Antoine Levi, Sultana and Gregor Staiger, as a collective attempt to develop an appropriate model for fostering new advanced initiatives in contemporary art.

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Fiona Banner: Buoys Boys at De La Warr Pavilion
 

De La Warr Pavilion

Gallery 1

Saturday, 24 Sep 2016 - Sunday, 8 Jan 2017

Leading British artist Fiona Banner presents an immersive installation exploring her ongoing interest in language and its limitations. The exhibition, which takes place both inside and outside of the gallery, is a play on digital vs. material experiences.

Banner continues her Full Stop sculptures – a sequence of full stops from typefaces blown up to human scale, previously produced in polystyrene and bronze – reformed here as large inflatables.  They will be presented as a series of happenings around the Pavilion.  Full stops also feature in a vast window installation spanning the full length of the gallery, making illusory sculptural interventions, or Buoys, on the seascape beyond.

As part of the Root 1066 International Festival

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Ana Prvacki: LA Phil - Noon to Midnight
 

Noon to Midnight

Walt Disney Concert Hall

Saturday, October 1, 2016

The LA Phil's 2016/17 Green Umbrella season begins Saturday, October 1, 2016 with Noon to Midnight, an opportunity for audiences to hear performances by a number of L.A.'s most exciting new music ensembles throughout the spaces of Walt Disney Concert Hall. You'll hear 12 world premieres commissioned by the LA Phil, plus new works by National Composers Intensive participants, in a festival-like atmosphere that includes food trucks and beer.

**1301PE is pleased to announce the world premier of Tent, quintet, bows and elbows by Ana Prvacki with the original score Porcupine by Veronika Krausas (commissioned by the Los Angeles Philharmonic and Gustavo Dudamel, Music and Artistic Director). The performance will take place at noon and 5:15pm at BP Hall.

Tickets for everything between noon and 8pm cost only $15

Buy tickets here

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Jorge Pardo: Santa Barbara Museum of Art’s 75th Anniversary Art Auction
 


Jorge Pardo, Verdical, 2015, silkscreen on paper

These stellar works of art have been assembled by the Santa Barbara Museum of Art curators for a special auction in conjunction with the Museum's 75th anniversary gala on September 18th. Auction proceeds will support a wide range of programming and ensure the success of the SBMA into the future.

The auction is live on Paddle8 through September 19, 2016.

View the auction here

 
 
New York Times: What to See in New York Art Galleries This Week
 


An installation view of Jessica Stockholder's show at Mitchell-Innes & Nash.

Jessica Stockholder 'The Guests All Crowded Into the Dining Room' by KEN JOHNSON

Jessica Stockholder's colorful assemblages of diverse store-bought and found objects call to mind a term from neuroscience, "multisensory binding." The phrase refers to the fact that the outer world appears to us seamlessly coherent, despite the many sensory signals streaming in from diverse sources — eyes, ears, nose, tongue and skin. Usually we don't notice how the mind binds together these different inputs. In Ms. Stockholder's engaging, if not wildly exciting, show of sculptures at Mitchell-Innes & Nash, your awareness of your attention's shifting between the disparate parts and the whole composition is essential.

View article here

 
 
Wallpaper: Box Fresh - Walker Art Center presents a series of artworks that think inside the box
 


A kit of camping essentials forms Without Title (Rucksack Installation), by Rirkrit Tiravanija, 1993

Box fresh: Walker Art Center presents a series of artworks that think inside the box by Alexandra Alexa

Everything important that I have done can be put into a little suitcase,' Marcel Duchamp declared in 1952. He was speaking of his Boîte en valise ('Box in a Valise'), a suitcase he had assembled and reproduced between 1935 and 1941 to house the body of work he had created up to that point; a mini retrospective exhibition that could be carried anywhere. This work, and that of four other artists, is currently on view at the Walker Arts Center as part of 'Unpacking the Box', an exhibition that explores the artistic potential of thinking inside the box.

Pieces include George Brecht's Valoche / A Flux Travel Aid, a box containing an assortment of quirky artisanal children's toys, including a jump rope, a chess piece and plastic eggs, and Rirkrit Tiravanija's Without Title (Rucksack Installation), a kit of camping essentials.

View article here

 
 
Wallpaper: Feeling gravity's pull - Jessica Stockholder's stacked works at Mitchell-Innes & Nash
 


The Guests All Crowded Into the Dining Room, installation view, 2016

Feeling gravity's pull: Jessica Stockholder's stacked works at Mitchell-Innes & Nash by Allison Young

Blurring the boundaries between painting, sculpture and architecture, Stockholder's current exhibition at Mitchell-Innes & Nash emphasises process, form, and, above all, gravity. This is apparent in installations such as Sale A Way or Security Detail that feature slouched and hanging components.

However, the force is most integral to the artist's ongoing series of Assists – sculptures that cannot stand upright without the support of a given 'base'. Assist: Smoke and Mirrors, for instance – comprised of a web of copper wire, tarp and hardware parts – is buttressed by an upholstered chair; in a future iteration, it may instead come to lean on another sculpture or object. In the Assists, each component's mass, orientation and weight affect the stability of adjacent elements. Such works, perhaps, reflect the possibilities of both vulnerability and mutual dependence within our personal and civic lives.

View article here

 
 
Rirkrit Tiravanija: Sexy Beast, A Benefit for Planned Parenthood Los Angeles, Art Auction Now Live
 


Rirkrit Tiravanija, Untitled (freedom can not be simulated, new york times, june 28, 2016), 2016

Sexy Beast, A Benefit for Planned Parenthood Los Angeles, Art Auction Now Live

Sexy Beast co chairs Mieke Marple, Davida Nemeroff, and Eliah Perona are excited to announce the Sexy Beast art auction is now live on Paddle 8.

This September 10, Hollywood entertainment and the art world will come together again for the second edition of Sexy Beast, an evening of performance and art auction benefiting Planned Parenthood Los Angeles (PPLA) at The Theatre at Ace Hotel, Downtown Los Angeles. Tickets can be purchased here.

The evening will feature an art auction led by Viveca Paulin-Ferrell with paddles designed by Math Bass, performances by WIFE and Mutant Salon, music by DJ Rashida, and a floral installation by Maurice Harris of Bloom and Plume. The Sexy Beast 2016 Award is designed by Kathleen Ryan.

Participating artists include: Theodora Allen, Harold Ancart, Darren Bader, Alex Becerra, Larry Bell, Brian Belott, Jennifer Boysen, Katherine Bradford, Brian Calvin, Nina Chanel Abney, Alex Chaves, Mira Dancy, Marcel Dzama, Laeh Glenn, Jennifer Guidi, Camille Henrot, Whitney Hubbs, Xylor Jane, Jasper Johns, Dwyer Kilcollin, Josh Kline, Barbara Kruger, Sadie Laska, Eric Mack, Robert Mapplethorpe, Orion Martin, Eddie Martinez, Julie Mehretu, Paul McCarthy, Marilyn Minter, Sam Moyer, Margaux Ogden, Alex Olson, Neil Raitt, Sterling Ruby, Ed Ruscha, Matt Sheridan Smith, Lucie Stahl, Despina Stokou, Claire Tabouret, Samantha Thomas, and Rirkrit Tiravanija.

For more information, please visit www.sexybeastforplannedparenthood.com

 
 
Blouin Artinfo: Fiona Banner's 'Buoys Boys' at De La Warr Pavilion
 


Fiona Banner, Buoys Boys, (detail) 2016, Full Stop inflatables, From left to
right: Bookman,
Courier, De La Warr Pavilion, Bexhill-on-Sea,
Courtesy: De La Warr Pavilion, U.K.

Fiona Banner's 'Buoys Boys' at De La Warr Pavilion

English artist Fiona Banner's "Buoys Boys" is scheduled to run at the De La Warr Pavilion, United Kingdom, from September 24 through January 8, 2017. The exhibition includes site-specific new work by the artist both inside and outside the gallery. The theme of the exhibition centers on the artist's interest in conflict and language and is a play on digital versus material experiences.

The exhibition features her "Full Stop" sculptures, a sequence of full stops from typefaces blown up in proportion, consisting of large helium-filled inflatables. They will also be installed and float from the roof of the pavilion representing floating buoys. The sculptures also manifest in "Ha-ha" and will be placed as a panoramic window installation spanning the length of the gallery. Banner will also present a series of films and posters related to her experimental publishing activity. Through her artwork, Banner has approached the idea of language and conflict and how historical events are fictionalized over time.

View article here

 
 
Blouin Artinfo: Everyday Abstraction - A Q&A with Jessica Stockholder
 


Installation view of Jessica Stockholder: The Guests All Crowded Into the Dining Room at
Mitchell-Innes & Nash (© Jessica Stockholder; Courtesy of the artist and Mitchell-Innes &
Nash, NY.)

Everyday Abstraction: A Q&A with Jessica Stockholder by Taylor Dafoe

Jessica Stockholder's work is difficult to talk about because it eschews so many of the typical classifications we use to discuss contemporary art: "installation," "site-specific," "ephemeral." Indeed, that's one of the most central elements of her practice: the dissolving of boundaries.

Look no further than her immersive new show at Mitchell Innes & Nash, "The Guests All Crowded Into the Dining Room." In it, multifaceted sculptures made from found items are installed sporadically throughout the space, calling into question what belongs with what. Discarded scallop shells rest atop blue ice cube trays. An old dance floor tile is mounted to the wall above sheets of industrial metal fencing. A sagging square of linoleum hangs from a rusty hinge. There are two new pieces from her "Assists" series — modular sculptures that can only stand upright when attached to something else: a car, a piano, or in this case, two threadbare lounge chairs the artist sourced from Craigslist. (Though, the furniture isn't technically a part of the sculpture: "If you buy an 'Assist' attached to a piano, you don't get the piano," Stockholder says.)

Finally the show's central work, the eponymous "The Guests All Crowded Into the Dining Room," features a large, winding, wooden stage connected to an elevated deck gallery-goers are encouraged to walk onto.  Part sculpture, part viewing platform, part pedestal, it's easy to love, but hard to explain why.

While the installation was wrapping up in the gallery, Stockholder sat down with Artinfo to talk about the show and some of the larger themes that run throughout all her work.

View article here

 
 
Jorge Méndez Blake: Other Literature
 

1301PE is pleased to announce the arrival of Other Literature (English translation) by leading Mexican artist, Jorge Méndez Blake. Other Literature highlights the importance of libraries as structures of knowledge and as architectural entities. Exploring the theme in works by Méndez Blake, the volume includes essays by renowned art critics and architects, including Sarah Demeuse, Verónica Gerber, and Luis Felipe Fabre. Published by RM, hardcover, 6.5 x 9.5 inches, 408 pages.


Copies can be purchased for $38 by contacting the gallery at 323.938.5822 or info@1301pe.com.


 
 
Jessica Stockholder: Mitchell-Innes & Nash, New York
 

Jessica Stockholder: The Guests All Crowded Into the Dining Room

August 25 - October 1, 2016; Opening reception: Thursday, September 15, 6-8 pm

Mitchell-Innes & Nash: 534 W 26th Street, New York NY 10001


The Guests All Crowded Into the Dining Room will feature works from several facets of Stockholder's practice, including a large-scale site-responsive installation in addition to distinct bodies of studio works. This will be the gallery's third solo exhibition with the artist.

 
 
Diana Thater: Untitled (Butterfly Videowall #2) in Indestructible Wonder at the San Jose Museum of Art
 


Diana Thater, Untitled (Butterfly Videowall #2), 2008 (detail), Five flat screen LCD monitors,
Blu-ray player, Blu-ray disc, distribution amplifier, two fluorescent light fixtures, and Lee filters,
Dimensions variable

Indestructible Wonder

August 18, 2016 - January 29, 2017

On view for the first time in Indestructible Wonder is the important recent acquisition Untitled (Butterfly Videowall #2) (2008), a video installation by Diana Thater. Thater filmed monarch butterflies as they rested on the ground at El Rosario Monarch Butterfly Sanctuary in Michoacán, Mexico, where millions of monarchs hibernate after their long migration from Canada. Due, in part, to the lack of foliage in which the butterflies normally take refuge, their only option was to gather together on the forest floor—an extremely vulnerable position. By placing upturned monitors on the gallery floor, Thater created a meditative experience through which to consider the lives of other creatures who share this planet.

More information here

 
 
Contemporary Thai Cuisine by Rirkrit Tiravanija and Dalad Kambuh at Dóttir
 


Courtesy of Dottir

When Pop Becomes Attitude | Dóttir Berlin

July 26 - August 6 | Tuesday till Saturday, from 6pm


New York chef Dalad Kambhu and artist Rirkrit Tiravanija will take over Dóttir in Berlin and create their own version of contemporary Thai eatery. For two weeks, from the 26th July to the 6th August, the two friends and Berlin lovers will serve authentic yet contemporary Thai cuisine. Guests can expect fresh and summery ingredients and dishes, served family style as sharing dishes. They will focus on seasonal and regional products and incorporate them in traditional and newly interpreted Thai recipes. On the long list of ideas are fresh artichoke salad, green curry beef cheeks, roasted duck with Panang Curry, fish sauce ice cream and melting salmon on garden vegetables. The food will be accompanied by special wine recommendations of Dóttir's sommelier Patrick Wentzel and Thai flavored cocktails by Pauly Bar's mixologists Bobbi Kay and Justin Powell.

The New York Times, The Professional Pop-Up Artist

 
 
ArchDaily: Rirkrit Tiravanija's Water Pavilion
 


Photo by Panic Studio LA, courtesy of City of Los Angeles Department of Cultural Affairs
DCA). Image © [Rirkrit Tiravanija 2016]

wHY and artist Rirkrit Tiravanija Design "Waterfall Pavilion" for the LA Public Art Biennial by Patrick Lynch

Now on display as part of CURRENT: LA's Public Art Biennial is "The Waterfall Pavilion," designed by Los Angeles architects wHY's Objects Workshop division in coordination with contemporary artist Rirkrit Tiravanija. The temporary installation is located at the point where water from Lake Balboa flows via a waterfall into the Los Angeles River, and consists of an open pavilion and a water purification wagon, corresponding to this year's festival theme of 'Water.'

View article here

 
 
Artillery: Current:LA Brings Art to The Valley in the Form of Tea
 


Current:LA Brings Art to The Valley in the Form of Tea by Beverly Western

"On Sunday we spent the later part of our afternoon trekking to the deep valley for tea. No, not the pinkies-up, triangle-sandwiches-type of tea. Instead we attended Tea Ceremony, a performance organized for Current:LA Water Public Art Biennial by Lauren W. Deutsch and Pacific Rim Arts. Here we would join Nakada Sokei, sensei, and practitioners from Urasenke Tankokai Los Angeles as they performed chado ("the way of tea") using precious water from the LA River that has been filtered and purified. Yes, the idea of anyone drinking anything from the LA river, purified or not, made us cringe…until we did it ourselves."

View article here

 
 
Kerry Tribe: Introducing Ed Rusha's films at MOCA
 

Join us for a screening of the only two films ever created by iconic LA-based artist Ed Ruscha, Premium (1971, 16 mm, 24 mins.) and Miracle (1975, 16 mm, 28 mins.).

Premium, Ruscha's first film, starring artist Larry Bell and model Léon Bing, exemplifies the artist's deadpan aesthetic and his investigation of the codes of Hollywood storytelling. Miracle, a story about a curious day in the life of an auto mechanic, stars artist Jim Ganzer and actress Michelle Phillips. LA-based film, video, and installation artist Kerry Tribe introduces Ruscha's films; Tribe's work is included in LA's first public art biennial, CURRENT:LA Water, opening July 16, 2016. Felipe Lima will present Ed Ruscha: Buildings and Words, a new short-length documentary film about Ruscha's extraordinary body of work written and directed by Lima.

More information here

 
 
KCET: A Guide to Current:LA Water, the Biennial Bringing Art to 16 Locations Across the City
 


Kerry Tribe, "Exquisite Corpse." | Photo: Panic Studio LA.

A Guide to Current:LA Water, the Biennial Bringing Art to 16 Locations Across the City, by Carren Jao

"This summer, Los Angeles' riverbanks and water-related sites will blossom to life despite the drought... Across 16 locations (15 designated sites plus a "hub") from Bee Canyon Park in Granada Hills to Point Fermin Park in Long Beach, site-specific artwork and public programming by international and Los Angeles-artists will provoke visitors to ponder the tangled web of connections water weaves in our city's history."

View article here

 
 
The New York Times: Current: L.A. Brings New Art Projects to the City
 

'Current: L.A.' Brings New Art Projects to the City, by Jori Finkel

"Lacking an organization like New York's Creative Time or Public Art Fund, Los Angeles artists have long depended on local museums and scrappy nonprofit galleries to fund of-the-moment public art. Now the city's Department of Cultural Affairs has a new biennial to help fill the gap: "Current: L.A.," which runs for a month starting on Saturday.

This year's theme is water, inspired by the record-setting drought in California as well as city ambitions to transform the Los Angeles River, which for stretches resembles a concrete trench, into a more functional, accessible and even leafy refuge for city-dwellers."

View article here

 
 
Rirkrit Tiravanija: untitled 2016 (LA water, water pavilion) at CURRENT:LA Public Art Biennial
 

Rirkrit Tiravanija

CURRENT:LA Public Art Biennial

untitled 2016 (LA water, water pavilion)

16 July - 14 August, 2016

Lake Balboa, 6300 Lake Balboa Hiking Trail, Los Angeles, CA 91411

It is with great pleasure that 1301PE announces Rirkrit Tiravanija's contribution to the CURRENT:LA Public Art Biennial, 'untitled 2016 (LA water, water pavilion)', a temporary public artwork that consists of an open pavilion and a water purification wagon. The work was created in collaboration between the artist, Kulapat Yantrasast from wHY and the non-profit Water One World Solutions.

Located at the very site where reclaimed water from Lake Balboa flows via a gushing waterfall into the Los Angeles River, the work offers visitors a sphere of respite and recovery as well as prompts them to reconsider their relation to water. The water purification system allows for the river's non-potable water to be reclaimed, purified and consumed by the public; the water will also be used in different performances during the opening weekend. The work can be experienced every day during the biennial from 5:30 am to 10:30 pm.

 
 
LA Weekly: A New Project Lets Viewers Explore All 51 Miles of the L.A. River in 51 Minutes
 


A Still of the Los Angeles River from Kerry Tribe's 'Exquisite Corpse'

A New Project Lets Viewers Explore All 51 Miles of the L.A. River in 51 Minutes, by Catherine Womack

"Artist Kerry Tribe has a deeply ingrained sense of civic duty. When she noticed that the garden at her children's public elementary school was neglected, Tribe got her hands dirty and started planting. She tackled forestry issues in her Eagle Rock neighborhood by running for elected office. And when the city of Los Angeles approached her last summer to submit a project proposal for Current:LA Water, the city's first public art biennial, Tribe developed a large-scale piece that incorporates her passion for community and ecology."

View article here

 
 
Kerry Tribe: 'Exquisite Corpse' at CURRENT:LA Public Art Biennial
 

Kerry Tribe

CURRENT:LA Public Art Biennial

Nightly screenings of Tribe's 'Exquisite Corpse'

16 July - 14 August, 2016

1301PE is pleased to announce Kerry Tribe's participation in Los Angeles' first public art biennial, CURRENT:LA, which will take place between July 16 - August 14 exploring the theme of 'water'. Tribe's contribution, 'Exquisite Corpse', is an open-air nightly screening of a 51-minute film that traces the 51-mile Los Angeles River from its origins in the San Fernando Valley to its terminus at the Pacific Ocean.

Nightly screenings in Sunnynook River Park at 8:30 p.m. Pre-screening presentations by the Theodore Payne Foundation for Wildflowers and Native Plants every Friday at 7:00 p.m.

More information here

 
 
Ana Prvački: PLEASE HAVE ENOUGH ACID IN THE DISH! at M+B
 

Organized by Vinny Dotolo

July 7 - September 2, 2016

Participating artists include: Harold Ancart - Alex Becerra - Louise Bonnet - Derek Paul Boyle - Matthew Brandt - Greg Colson - Bjorn Copeland - Cameron Crone - Awol Erizku - Kim Fisher - Samara Golden - Rives Granade - Joel Kyack - Dwyer Kilcollin - Friedrich Kunath - Shio Kusaka - Candice Lin - Nevine Mahmoud - Josh Mannis - Calvin Marcus - Max Maslansky - Joshua Nathanson - Claire Nereim - Ariana Papademetropoulos - Ana Prvacki - Sean Raspet - Charles Ray - Fay Ray - Ed Ruscha - Adam Silverman - Marisa Takal - Kenneth Tam - Paul Pascal Theriault - Charlie White - Chase Wilson - Jonas Wood - Eric Yahnker

M+B, 612 North Almont Drive, Los Angeles, California 90069

 
 
Jorge Méndez Blake: LADERA OESTE Inaugural Exhibition
 

LADERA OESTE
is a non-profit independent exhibition space, founded by curator Geovana Ibarra and artist Jorge Méndez Blake in Guadalajara, Mexico.


Artists: Vito Acconci, Santiago Borja, Pia Camil, Alejandro Cesarco, Edgar Cobián, Fiona Connor, Claire Fontaine, Karl Holmqvist, Runo Lagomarsino, Nicolás Lamas, Fernando Palomar, Allen Ruppersberg, Valeska Soares



Opening: Saturday, July 9, 12–15 h

More information here

 
 
New York Times: Judy Ledgerwood, Pussy Poppin' Power
 


Working with spontaneous panache, the Chicago artist Judy Ledgerwood paints expansive, boldly colorful grid-based abstractions. An infectious exuberance animates her new canvases in an exhilarating exhibition at Tracy Williams on the Lower East Side.

The paintings consist mainly of rows of diamond shapes that combine into optically percussive argyle patterns. Enhancing the rhythms, thick and thin dots of paint punctuate the lozenges. In "Mountain," the show's biggest piece at 7½ feet by 12 feet, three horizontal rows of spotted diamonds in many colors fill the viewer's visual field with a strobing fabric of syncopating voluptuousness.

A distinctive feature is how Ms. Ledgerwood shapes her compositions. She leaves white borders around the edges of the canvases, as if the overall designs were tapestries or quilts pinned by the upper corners to white walls. They seem to droop and bow outward, creating paradoxical fusions of actuality and virtuality. Drips of paint falling over the white, lower edges of the canvases further confound the dichotomy of the real and the illusory.

This may sound complicated in theory, but on canvas it's perfectly clear. Painting with the carefree abandon of an improvising jazz musician, Ms. Ledgerwood makes what's hard look easy. - Ken Johnson

 
 
Hyperallergic: Sexual Abstraction: Judy Ledgerwood’s Recent Paintings
 

Sexual Abstraction: Judy Ledgerwood’s Recent Paintings by John Yau

If, as Amy Sillman has said, "The elephant in the room is sex," Judy Ledgerwood's paintings ask the viewer: What exactly do you think you are looking at? The viewer sees a shaped rectangle painted onto an immaculate white ground. A catenary seems to have been used to determine the rectangle's top curved edge, while both sides bow in slightly, bringing to mind textiles hanging on a laundry line. A few rivulets of paint drip down from the rectangle's uneven bottom edge. Meanwhile, the thick stretcher bars turn the painting into an object protruding from the wall, rather than a flat thing hugging it.

In a public conversation I had with the artist the day after her show, "Judy Ledgerwood: Pussy Poppin' Power," opened at Tracy Williams (May 7 – June 16, 2016), it was evident how clearly she had thought about all the issues – including the relationship between painting and architecture – that I've just described. Her paintings are what David Reed would call "bedroom paintings." In her case, this means diamond-patterned grids in which emblems of sexual desire disrupt the comforting visual rhythms we associate with modular units and repetition.


View article here

 
 
Paul Winstanley in coonversation with Charlotte Mullins
 

Artist Paul Winstanley speaks to historian, writer and broadcaster Charlotte Mullins about his new body of paintings and prints that depict the interiors of British art schools in conjunction with the exhibition 'Paul Winstanley | Art School: New Prints and Panel Paintings at Alan Cristea Gallery, 17 March - 7 May 2016.

During the summer months of 2011 and 2012 Paul Winstanley traveled throughout England, Scotland and Wales photographing unpopulated art school studios, including the iconic Mackintosh Building, Glasgow School of Art, that was later severely damaged by fire in 2014. The imagery, selected from over 200 photographs, provided the source material for this new series of work.

View video of conversation here

 
 
SUPERFLEX participates at Emscher Kunst 2016
 

Photo: SUPERFLEX

4 June - 18 September 2016

SUPERFLEX presents the new work Waste Water Fountain at Emscher Kunst 2016, a 50km long Art Trail that stretches between the cities of Holzwickede, Dortmund, Castrop-Rauxel, Recklinghausen and Herne in Germany. With this work, SUPERFLEX erects a temporary memorial in form of a great fountain amidst the course of a river still carrying waste water on site, at the Stadthafen in Recklinghausen. The Emscher's industrial image, an open waste water canal, reminds the artists of open intestines, our vital organ. Superflex celebrates the waste water for 100 days of Emscherkunst before it soon vanishes underground completely due to the Emscher conversion.

The Emscherkunst accompanies the development of a natural riverscape in the heart of the Ruhr area as a triennial. In a generational project, the open waste water canal Emscher is being converted to a close-to-nature river since the 1990s.The river's's waste water is conducted with pumps through the more than 4m high sculpture. It rises over the water surface and ground level and vehemently enters the observer's view, equally showing uninhibited passion for breaking taboos and also delight for the absurd. The get-together of all our waste that used to be part of us, and the participation in a universal process of degradation shall also be celebrated, according to Superflex.

More information here.

 
 
Rirkrit Tiravanija: Tomorrow is the Question at the Stedelijk Museum Amsterdam
 


Rirkrit Tiravanija, untitled 2012 (who if not we should at least try to imagine the future, again) (remember Julius Koller). 14 mirror polished stainless steel ping pong tables, Gavin Brown Enterprise, NY. Photo: Thomas Müller

Rirkrit Tiravanija

Tomorrow is the Question

A co-production of Holland Festival and the Stedelijk Museum Amsterdam

June 4–26, 2016

Thai artist Rirkrit Tiravanija (1961) creates art that explores human social interaction. In Tomorrow is the Question, he will set up a series of stainless steel ping pong tables and invite the public to participate in his work. Tiravanija has staged exhibitions at venues throughout the world. Tomorrow is the Question (2015)—previously presented in Moscow, Arles, France, and elsewhere—marks the artist's debut in Amsterdam. Tiravanija is seen as one of the most influential multimedia artists of his generation.

With his installation on the Museumplein, Tiravanija blurs the line between art and life. The work playfully confronts traditional ways of viewing art in classic Tiravanija style, as well as the etiquette that goes with it. As an alternative, the artist offers a more theatrical and social—and more enjoyable—experience. Tiravanija sees art as something artist and viewer create together, a process where people can be social beings, preferably outside the rarified realm of the gallery space. "It is not what you see that is important, but what takes place between people," says Tiravanija.

The social interaction that Tiravanija pursues with this project has different historical references, from the ping pong matches organized at a gallery in Bratislava as a way of communicating by Slovakian artist Július Koller in the 1970s, to the Ping Pong Diplomacy of the United States during the Cold War period. In 1971, the US organized a ping pong tournament between American and Chinese players, under the motto "Friendship First, Competition Second."

The work is accessible to everyone and free of charge. Ping pong paddles and balls can be borrowed from a distribution point on Museumplein.

More information here

 
 
Fiona Connor: Newspaper Reading Club in Routine Pleasures, MAK Schindler House
 

Opening Reception: Wednesday, May 25, 2016, 7-9 PM

Wednesday, May 25 – Sunday, August 14, 2016   

Schindler House
835 N Kings Road
West Hollywood, CA 90069

Routine Pleasures brings together artists working in a variety of media to explore "the termite tendency," a concept introduced by artist and film critic Manny Farber (1917–2008) in his 1962 essay "White Elephant Art vs. Termite Art." Whereas the original essay applied these labels to the work of filmmakers, exhibition organizer Michael Ned Holte finds manifold parallels in contemporary art.

In today's overheated art world, it is easy to see a preponderance of "white elephant" art, defined by Farber as "yawning production of overripe technique shrieking with preciosity, fame, ambition." Routine Pleasures presents practitioners who embrace a quieter, more process-oriented approach. Like termites, these artists focus closely on what is before them, and follow the work wherever it may lead, often in diffuse directions. To locate and expand upon Farber's construct of the termite tendency, the exhibition features works by: James Benning; Jennifer Bornstein; Center for Land Use Interpretation; Harry Dodge; Manny Farber; Judy Fiskin; Magdalena Suarez Frimkess and Michael Frimkess; Galería Perdida; Sarah Lehrer-Graiwer; Simon Leung; Lucky Dragons; Roy McMakin; Carter Mull; Newspaper Reading Club; Pauline Oliveros; and Steve Roden.

More information here.

 
 
Jessica Stockholder: Colour Jam Houston
 

Color Jam HoustonAn urban architecture activation by Jessica Stockholder will paint the intersection and run up the walls of the buildings at Main & McKinney streets. Photo: Houston Downtown District

Color Jam Houston treats the intersection of Main and McKinney as a single public canvas. The stripes of color on the four corners seem to be woven together and present a kind of basket. The weaving of different stripes together into a single whole is resonant with the reality of different owners, jurisdictions and codes that govern this section of public space consisting of crosswalk, roadway, sidewalk, store fronts and Metro platform. The work also signifies the delicate social and political balance that exists between individual rights, freedoms, responsibilities and our collective well-being and coexistence.


More information here.

 
 
KCET: Current:LA, A New Public Art Biennial
 

A recent mayoral announcement officially launched the Department of Cultural Affairs’ new Current:LA initiative, an issues-driven public art biennial whose inaugural edition happens at non-traditional locations scattered across the city in July and August. The first edition, Current:LA Water, addresses the multivalent topic of water’s usage, history, and role in the city’s physical and social infrastructure. This includes the L.A. River, but as the organizers are quick to point out, it is about so much more than just the river. There's water infrastructure throughout the city from the Port of L.A. (San Pedro) to the L.A. wetlands of Ballona Creek, to Hansen Dam in the north), and of course, the coast.

The DCA’s Public Art Division is using $1 million received through a grant program of the Bloomberg Philanthropies’ Public Art Challenge, plus matching funds from the city’s Arts Development Fee (ADF) program, more commonly known as the percent-for-art program that taps developers and other kinds of businesses for sustaining funds for what is usually permanent works of public art. But forget that abstract-sculpture-in-a-plaza model of public art; the Bloomberg grant specifically called for temporary public art projects and public programs at outdoor locations, and the DCA has embraced this paradigm shift with an enthusiast, open-minded can-do spirit taking full advantage of what DCA general manager Danielle Brazell calls “L.A.’s inspired moment.”  

Besides reframing the conversation on what public art can be, Current:LA is also reconfiguring assumptions about what a biennial looks like.

Click here for full text.

 
 
Current:LA Water with Rirkrit Tiravanija and Kerry Tribe
 


Image result for current la water art

via the LA Times:

Mayor Eric Garcetti announces artists for L.A.'s first public art biennial to be held this summer

More than a dozen artists — including L.A.-based Kori Newkirk, Edgar Arceneaux, Gala Porras-Kim and Michael Parker — have been selected to participate in Los Angeles' first public art biennial, Mayor Eric Garcetti announced at a news conference early Tuesday afternoon.

The "Current:LA Water" exhibition will consist of temporary outdoor installations that will go up throughout the city this summer, all focused on the theme of water.

The project was initiated by the Public Art Division at the Department of Cultural Affairs and is supported by a $1-million grant from Bloomberg Philanthropies, and other financial support.

Felicia Filer, the director of the Department of Cultural Affairs' public art division, said in a statement that the line-up is "an exciting group of internationally recognized and emerging talents that are as culturally diverse as the inhabitants of Los Angeles."

This includes video artist Kerry Tribe, conceptual artist Rirkrit Tiravanija, installation artist Teresa Margolles and social practice pioneer Mel Chin. Also on the list are the sound duo Lucky Dragons (Luke Fischbeck and Sarah Rara), sculptor Candice Lin, sound and performance artist Chris Kallmyer and two artist teams — Josh Callaghan and Daveed Kapoor, and Refik Anadol and Peggy Weil.

Biennial artists were selected by a curatorial committee that includes Ruth Estévez of REDCAT; Rita Gonzalez from LACMA; Karen Moss, an art historian and curator who also teaches at the Otis College of Art and Design; and Irene Tsatsos, the chief curator at the Armory Center for the Arts in Pasadena.

"Current:LA Water" will be on view throughout Los Angeles in July and August.


More info here. LA Times article here.

 
 
Fiona Connor: Canyon School up for auction to benefit Canyon Charter School
 

Fiona Connor, Canyon School, 2016, ink on paper, 10 x 14 inches

Click here to bid on the work.

All benefits go to the Canyon Charter School in Santa Monica. The auction concludes on April 24th at the Canyon's Fiesta and Auction, 11am - 4pm.

More information here.

 
 
Artnet: Superflex's Readymade Medical Equipment is Now in Use in a Gaza Hospital
 

Superflex's 2014-15 exhibition "Hospital Equipment," at the Den Frie Center for Contemporary Art.<br>Photo: Anders Sune Berg, courtesy Superflex.

Superflex's 2014-15 exhibition "Hospital Equipment," at the Den Frie Center for Contemporary Art. Photo: Anders Sune Berg, courtesy Superflex.

Casualties of recent fighting in the Gaza Strip may well find themselves undergoing surgery atop an operating table that is also an artwork. In what the three-man Danish collective Superflex calls a "readymade upside-down," the artists organized for a museum exhibition of top-of-the-line medical equipment which then went to a setting defined less by well-heeled visitors than by life-threatening injuries.

As a result, Al-Shifa Hospital is the beneficiary of some $90,000 worth of goods, including the operating table and surgical lamps, with the financial support of Danish product design company Area9, which is one of three private collectors to acquire the piece. The table itself, the motorized, highly mobile Trumpf Medical MARS model, represented more than half the cost. The choice of equipment was guided by by PalMed, an organization of medical professionals who aim to provide improved care for Palestinians living in Gaza. Al-Shifa treated the largest number of victims of the most recent conflict in Gaza, says Dr. Mahmoud Ismail, head of PalMed's Danish office, in a press release.

Working together since 1993, the artists (Bjørnstjerne Christiansen, Jakob Fenger, and Rasmus Nielsen) have created socially-engaged projects in various mediums that examine the baleful effects of capitalism via financial and banking structures, the place of fossil fuel in the global economy, and systems of free trade, among other subjects.

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Huffington Post on Ana Prvacki: A Catalogue Of Wonderfully Useless Ideas Highlights The Power Of Imagination
 

Artist Ana Prvacki dares to imagine how our smallest, most absurd ideas can change the world.


A great gift -- one that's significant, thoughtful, filled with meaning, big -- can be, despite all good intentions, somewhat of a drag. The time, money, thought and resources that go into a diligently assembled gift can leave the recipient with a combination of appreciation and anxiety, grateful for the magnanimous offering but nervous for when, if, and how the service will be repaid.

That's why, for me, the most generous gifts are not the large ones that come elaborately wrapped up on holidays with a big bow on top. Instead, they're the ones that come unexpectedly and with joyful ease -- a note on your pillow, a candy on your desk -- gestures weightless and light as air.

Ana Prvacki's artworks are such gestures. While most art grapples with Big issues like Death, Sex, God, History, The Color Blue -- Prvacki's preferred concepts are simple and succinct. For example, how to properly alert your friend to the small leaf of spinach caught between her incisors.

- Priscilla Frank

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Artforum.com: Fiona Banner Critics' Pick
 

An unflattering view of a power suit’s trousers greets visitors to Fiona Banner’s exhibition: aqueous gray lines diverge down a big Day-Glo orange sheet to form Pinstripe Bum Face, 2015. If the intrepid financiers who steered the 2008 banking crisis sought unregulated waters, Banner finds premonitions of our recessional present in Joseph Conrad’s Heart of Darkness (1899). The novel opens on a dusky River Thames; Orson Welles set his unrealized screen adaptation on the Hudson—both waterways opened the world’s oceans to the West’s colonizing, commercial capitals. It is not lost on Banner that these waters now conceal the gangly fiber optics that keep both cities at the mouths of more ephemeral trade.

Upstairs is a salon hang of posters and prints incorporating Conrad quotes and ISBN numbers, as if posing the shadowy Company that sends Marlow after Kurtz as a venerable publisher of art books. Among them are a graphite rubbing of a brass placard that reads Power, 2016, and Thames and Hudson Nude, 2012, a silk screen of a woman’s silhouette beside a page of Welles’s script. On a nearby plinth sits a copy of Banner’s own Heart of Darkness, 2015, a September issue–size magazine lavishly illustrated with glossy shots of London’s financial district taken by Paolo Pellegrin, a conflict photographer. In the HD video Phantom, 2015, a drone tracks a copy of Banner’s book as strong winds push it across a parking lot. Its pages—flapping to shreds—flash a colonnade, a revolving door, and a spread of waves.

For Conrad, madness follows mere corruption. For Banner, this holds true. In Mistah Bag, 2015, the phrase “Mistah Kurtz he not dead”—the artist’s revision of Conrad’s famous line—appears in gold serif on a black plastic shopping bag. The body may be buried, but the spirit still sails.

— Travis Diehl

 
 
KCRW: Hunter Drohojowska-Philp on Fiona Banner's Heart of Darkness
 

Heart of Darkness, the 1899 novella by British author Joseph Conrad, is the story of the mysterious character Captain Kurtz as remembered by the captain of a steamer traveling up the Congo River. Loosely based on Conrad's own experience as a young seaman, it is written in a deeply descriptive and symbolically-charged manner that has attracted a number of reinterpretations including a film never realized by Orson Welles and, possibly the best known version, the 1979 film Apocalypse Now.

British artist Fiona Banner has been mining this fictional territory at least since her 1999 Nam, a "wordscape" describing the violence in that and various other films about the Vietnam War. In this show, she applies the book's metaphorical observations to business conducted in the City of London, a financial heart of darkness in this context, where the brokerages are centered. If morally abhorrent actions in the book are driven by greed, Banner's work suggests that parallels can be found in the capitalist motives of the City.

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The Wall Street Journal: ‘Ann Veronica Janssens’ Review: Lights, Color, Action
 

The most civilized spot in this city of sprawl, tall buildings, shopping malls and a spider's web of highways is one of Renzo Piano's great buildings, the Nasher Sculpture Center in the downtown arts district. Until several years ago, at the end of its stately garden filled with masterpieces by Rodin, Picasso, Calder, De Kooning, Moore, Di Suvero, George Segal and Richard Serra, there also stood one of James Turrell's "sky spaces," an enclosed room in which a visitor could look up at the changing heavens. As a consequence of a continuing dispute with a neighboring condominium tower whose height eradicated the room's sky view, the piece has been closed permanently.

Mr. Turrell is a master of light. Now, another master of light's uses and effects, Ann Veronica Janssens (British born; Belgian based), is having her first solo American show here. Outside, to the right of the Nasher's main entrance, "Green Aurora" is a small, projected light piece, barely noticeable. Indoors, placed diagonally on the floor, lies "IPE 700," a single 23-foot-long steel I-beam, its top side polished and reflective. In its solid materiality, this is the most conventional of Ms. Janssen's works here. As you look around you, materiality gives way to light and lightness. Four pieces she calls "Aquariums," variations on a theme, of identical size (21 5/8 inches cubed) and made of glass, distilled water, paraffin oil, and ink or silkscreen, stand atop identical wooden bases. They refract the light, and they also reflect Mr. Piano's signature grids for the Nasher roof above. Each is titled and colored differently: "Cocktail Sculpture" is pure glass; the others are called "Orange," "Margarita," and "Blue Wind" for their main shades. They will remind viewers of Donald Judd's 100 milled aluminum boxes in Marfa, Texas.

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art Magazin: Ana Prvački
 

Aktuell überschätzt: Das Original! In L. A. verkauft die Künstlerin Ana Prvački für viel Geld die Schattenwürfe berühmter Kunstwerke – thanks to Marcel Duchamp


Dass auf unserer Gegenwart der lange Schatten der Vergangenheit ruht, ist eine häufig bemühte Metapher, die man eigentlich nicht mehr hören mag. Nur in der Kunst, wo gern alte Ideen re­cycelt werden, lässt sich so eine abgegriffene Erkenntnis noch in Gold verwandeln. Ana Prvački jedenfalls hat das mit dem Schatten wörtlich genommen und stellt in der 1301pe-Galerie in Los Angeles die Schattenwürfe berühmter Skulpturen aus: Michelangelos David, den Schreitenden von Alberto Giacometti, Constan­tin Brâncusis Endlose Säule und natürlich auch Marcel Duchamps Fahrrad­Rad. Nicht die Skulpturen selbst, wohlgemerkt, sondern nur die Silhouetten, die sie auf dem Boden oder an der Wand hinterlassen. Die 1976 im ehemaligen Jugoslawien geborene Künstlerin nennt ihre neue Werkserie Stealing Shadows und bedient sich dabei natürlich ganz bewusst einem der größten Erfolgsmodelle der Moderne: dem Prinzip des Readymade (siehe auch Seite 34) und dessen Wiedergänger Appropriation Art. Größe und Material der Schattenwürfe sind variabel – auf Wunsch können sie auf den Boden aufgemalt oder als ausgeschnittener Filzbelag erworben werden. Der Preis der »gestohlenen Schatten« ist hingegen nicht verhandelbar. Er bemisst sich am Wert des Originalwerks und soll exakt ein Prozent des Preises sein, den die jeweilige Skulptur auf einer Auktion erzielt hat, so hat es die Künstlerin verfügt. Der Schatten von Louise Bourgeois’ Bronzespinne beispielsweise ist mit 281 650 US­Dollar ausgezeichnet, weil eben dieses Werk letztes Jahr bei christie’s für das Hundertfache versteigert wurde. Stolzer Preis für den Umriss eines Kunstwerks, den man mit Taschenlampe und Photoshop auch selber herstellen könnte. Aber wer so denkt, hat eben Marcel Duchamp nicht verstanden. Nicht das Werk zählt, sondern die Idee, lautet das Mantra der Moderne. So gesehen liegt Prvačkis konzeptuelle Schattenkunst ganz weit vorn. Denn wer will sich in unsicheren Zeiten noch mit zentnerschweren Skulpturen belasten? Oder wie die Künstlerin sagt: »Auch wenn es eine sehr einfache Idee ist, ist sie doch sehr wertvoll. Dünnere Dinge zu machen sollte sogar mehr Wert haben als große Dinge.«


- Ute Thon

 
 
New York Times: Ann Veronica Janssens Casts Strong Beams at Bortolami
 

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The work of Ann Veronica Janssens, a British artist who lives in Brussels, precipitates the heightened optical and spatial awareness similar to that of Light and Space but without the often attendant fuss that seems antithetical to the movement’s less-is-more, dematerialized aesthetic. At least as seen here, in her first solo show in the United States, Ms. Janssens’s efforts avoid the more grandiose Light and Space hallmarks, including the immaculate built-out environments, computerized light shows and viewers removing their shoes. The results are less immersive, but more thought-provoking.

At Bortolami, Ms. Janssens, who has shown in Europe since the early 1980s, presents six eye-teasing works. The most immediately arresting is a thick layer of aqua-blue glitter, spread on the floor. About the size of a kiddie pool, it is lush and dazzling and flashes shades of green and yellow as you circumnavigate it, almost as if its surface were moving.

More understated are two modest sheets of corrugated aluminum that jut out from two walls, tilting upward, a little like awnings. They seem to levitate, delicately shaded on their undersides and glowing on top, as if harboring concealed lights. Actually, the aluminum is covered with platinum leaf, and each piece is fittingly titled “Moonlight,” which is, of course, all reflected. A narrow portion of vertical blinds, titled “California,” also seems lighted from within but is simply covered with gold leaf. The show culminates in a room where seven spotlights with pink gels form a circle on one wall while a haze machine lends heft to their crossing beams, which cast a lotuslike pattern on the opposite wall. These pieces might weaken if seen separately, but together their trick-free, low-tech magic is refreshing.


- Roberta Smith

 
 
Glasstire: Top Five: Ann Veronica Janssens
 

janssens nasher sculpture

1. Ann Veronica Janssens
Nasher Sculpture Center (Dallas)
January 23 – April 17

An exhibition of works by Brussels-based artist Ann Veronica Janssens. For this show, Janssens has created sculptures that play with the eye, in which viewers “encounter shifts in surface, depth, and color, challenging perception and destabilizing their sense of sight and space.”


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Star-Telegram: Artist Ann Veronica Janssens takes us inside the rainbow
 

Artist Ann Veronica Janssens disappearing into her piece, Blue, Red and Yellow at the Nasher Sculpture Center in Dallas on Friday, Jan. 22, 2016.

Ask your children if they would like to take a walk in a rainbow. The answer should be a unanimous yes.

You can deliver on this enticement at the Nasher Sculpture Center in a new exhibit by Belgian artist Ann Veronica Janssens.

Janssens is an artist who manipulates light, and in her piece titled Blue, Red and Yellow, a rainbow of light is encased in a large rectangular box in the Nasher's garden. She fills the box with fog from a fog-producing machine, and as the sunlight streams into the box made of colored plastic panels, it transforms the fog into clouds of color.

Unexpectedly, though, the fog is so saturated that as soon as people enter the cube, they disappear. You can hear them; in fact, audio perception is heightened, but you cannot see them. All that can be seen are the billowing colors that change through the prismatic palette and the tiny optical floaters that are always there on your eyes but are rarely noticed.

It's beyond weird in a wonderful way.

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The Creatorsproject: Throwing Shade—Literally—At the World’s Greatest Art
 

In the increasingly stock market-esque culture that the art world and market have become, the work of a select few artists that entertain billionaire patrons cast shadows upon everyone else's creations. Serbian born, LA-based artist Ana Prvački has opted to explore this metaphor in a literal fashion in her most recent exhibition, Stealing Shadows.

Prvački's show, which opened at LA gallery 1301PE last weekend, consists of the silhouettes and shadows of incredibly familiar works of art. Through projection and in some cases a thin sculpting process, Prvački has created "shadow-artworks" of iconic and easily recognizable pieces, including Jeff Koons' Rabbit and Michelangelo's David.

"I was thinking a lot about the tendency for appropriation and a kind of cleverness towards art history in the contemporary art practice," tells Prvački. "I was intrigued at the possibility of a playful, humorous ges