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.
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.
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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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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.
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.
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.
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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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.
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
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 by Caroline Picard
Every book creates a world, a place that readers enter through language on the first page, and inhabit thereafter, as the text's unique character compounds in an individual's imagination. This happens with novels, with philosophy, mathematical treatises, and poems. How astonishing it is to consider the lush autonomous universe each spine on a bookshelf proposes. Each of those worlds has a logical structure that cajoles a reader into its unique proposition—a situation not so different, perhaps, from that of architecture. The Guadalajara-based multimedia artist, Jorge Méndez Blake, addresses this intersection directly by translating nuanced themes embedded in canonical books into art installations. In our interview, we discuss this process of translation, looking at how it differs from literary criticism, and drifting over the site of Emily Dickinson's desk.
Caroline Picard: Your installations interpret the work of different authors like Samuel Beckett, Jorge Luis Borges, Emily Dickinson, Franz Kafka, Edgar Allan Poe, Shakespeare, and Jules Verne, by drawing out nuanced themes within a book (or poem) into a single place and time; it is almost like you draw a three-dimensional translation of the book in space. Do you see a connection between what you do and literary criticism?
Jorge Méndez Blake: My approach to books and language is more as a reader than as a critic. I like reading literary criticism, but I'm working from the side of art, and art should propose different ways of understanding literature, not the same ones as critics. Approaching a book through sculpture expands the possibilities of regular literary criticism. I believe some seminal texts of the history of literature have many possibilities of interpretation: there's nothing new under the sun, but the variations of its shadows are infinite.
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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.
Diana Thater, "Colorvision," 2016. Installtion view, 1301PE. Image by Fredrik Nilsen.
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.
- Sid Feddema
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.
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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.
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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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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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."
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
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.
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.