Venice: Philippe Parreno at The Central Pavilion and The Arsenale
Philippe Parreno: All the World's Futures
The Central Pavilion and The Arsenale at the Venice Biennale
May 9 – November 22, 2015
Judy Ledgerwood, Chromatic patterns, 2016-2017, site specific wall painting at Bloomberg
Judy Ledgerwood: Chromatic Patterns, Bloomberg mural, New York
Judy Ledgerwood's Chromatic Patterns mural for Bloomberg is at the new 919 3rd Avenue building in New York. It's inspired by the idea of place-making, about making the work space "a personal space rather than a more generic public space," according to Ledgerwood.
Portraits of the recipients
Kerry Tribe: Recipient of the 2017 Herb Albert Award in the Arts
Kerry Tribe: Recipient of the 2017 Herb Albert Award in the Arts
The Herb Alpert Foundation announced the 2017 winners of its annual Award in the Arts, which are given out annually by the foundation and the California Institute of the Arts. Each award honors a mid-career artists and comes with an unrestricted $75,000 prize. This year's winners are: Luciana Achugar for dance, Kerry Tribe for film/video, Eve Beglarian for music, Daniel Fish for theatre, and Amy Franceschini for visual arts.
Kerry Tribe, for her fearlessness in rethinking and readdressing social issues, her ability to make surprising and moving connections, for her demanding, pleasurable, transformative, and accessible work. They value her empathetic, generous and rare ability to immerse her audiences in new ways of seeing the world.
Past winners have included Simone Leigh, Tania Bruguera, Emily Jacir, Roni Horn, and Kerry James Marshall.
"It's particularly meaningful at this divisive moment to honor and support this year's winners who are rigorous in their reach, alert to the world, and make community as much as they make art," Irene Borger, the director of the Herb Alpert Award in the Arts, said in a statement.
ARTnews, Herb Alpert Awards Name 2017 Winners, by Robin Scher
Opening this week in Venice
Philippe Parreno installation view, Central Pavilion, Venice Biennale.
PHILIPPE PARRENO
VIVA ARTE VIVA
Central Pavilion
Giardini, Venice
JORGE PARDO
Applied Arts Pavilion
Arsenale, Venice
Pae White, "Qwalala", work in progress
PAE WHITE
LE STANZE DEL VETRO
Island of San Giorgio Maggiore, Venice
12 May 2017 - 30 November 2019
Qwalala, a monumental new sculpture by artist Pae White, will open to the public on the Island of San Giorgio Maggiore in Venice, coinciding with the 2017 Venice Art Biennale. Qwalala consists of a curving wall made only of solid glass bricks, which occupies the entire area opposite LE STANZE DEL VETRO. At 75 metres long and 2.4 metres high, the 3,000 glass bricks for Qwalala were hand-cast by Poesia Glass Studio in the Veneto region. Each of these hand-cast bricks is unique, owing much to the chance and variation inherent in the artisanal manufacturing process.
ANN VERONICA JANSSENS
Palazzo Fortuny
San Marco, Venice
13 May – 26 November 2017
To coincide with the 2017 Venice Art Biennale, the Axel & May Vervoordt Foundation and the Fondazione Musei Civici di Venezia will present their sixth and final exhibition: Intuition. The exhibition will explore how different manifestations of intuition have shaped art across geographies, cultures and generations. It will bring together historic, modern and contemporary works related to the concepts of dreams, telepathy, paranormal fantasy, meditation, creative power, hypnosis and inspiration.
Anri Sala and Angela Bulloch at Esther Schipper’s New Space in Berlin
Angela Bulloch | ArtFuse | by Tina Sauerlaender
Angela Bulloch’s show Heavy Metal Body and Anri Sala’s first solo exhibition with the gallery Take Over also inaugurate the gallery’s new space at Potsdamer Strasse 81E in Berlin, Germany, and opened concurrently with Gallery Weekend Berlin 2017.
Three new sculptures by Angela Bulloch which expand the body of work that Angela Bulloch has been developing since 2014, will be presented in a space adjacent to the main exhibition area. Each of the sculptures offers a distinct rhythm created by the variations in shape, size and color of its elements. The surface of the vertically assembled rhomboid shapes, painted in a combination of light, bright or dark colors, creates an optical illusion of pushing and pulling planes. Conceived within a digital imaging program, each stacked rhombus appears distinct while at the same time relating to the others. From one side the irregular aspect dominates, while from another the impression of a certain totemic regularity prevails. By using contemporary technology to transpose Euclidian geometry into a three-dimensional sphere, the artist conjures up sculptures in a weightless space, allowing virtuality and reality to coexist. (Full Article)
Pae White installation at kaufmann repetto
Pae White: "Demimondaine" at kaufmann repetto
Pae White: Demimondaine
kaufmann repetto
Via di Porta Tenaglia, 7, 20121 Milano MI, Italy
8 May - 9 September 2017
The exhibition title lends itself to the French "demi-monde" or "half-world", a popular phrase at the turn of the early twentieth century characterizing those living opulent, pleasure-driven lifestyles. The derivative "demimondaine" spoke of the women that lived on the fringe of respectable society, straddling the standards of the "real-world". Their way of life a challenge of the status quo but existing within the con nes of those very ideals - a controlled excess, a chaos within boundaries.
Cultured Magazine: 1301PE Celebrates 25 Years
1301PE Celebrates 25 Years
On April 28, 1301PE celebrated its 25th anniversary with an intimate dinner and two exhibitions at their gallery. On view in the main gallery is "The last beautiful pleasure," with work by Tacita Dean and Manon de Boer, including works on view for the first time in L.A.: Sylvia, March 1 and March 2, 2001, Hollywood Hills and Dean's Portraits. In the new viewing room, the exhibition "Life of riot at 25" depicts 1301PE's storied history through posters and postcards produced at the gallery over the last quarter century.
Detail of Calligrammes. Poèmes de la Paix et de la guerre (Guillaume Apollinaire), 2017, Ink on paper, polyptich of 12 pieces. 27,5 x 37,5 cm (each). Edition of 3 + 1 AP
Jorge Méndez Blake: Meessen De Clercq, Brussels, Belgium
Jorge Méndez Blake
Apollinaire's Misspell and Other Calligrams
Meessen De Clercq
Rue de l'Abbaye 2A, 1000 Bruxelles, Belgium
March 30, 2017 - May 13, 2017
It's raining women's voices as if they had died even in memory. This is the first sentence of the poem II pleut (It's Raining) by Apollinaire. One of the famous Calligrams which dynamited the form and typography of poetry at the beginning of the 20th century. This poem has always intrigued Jorge Méndez Blake, who explores the intimacy of world literature in his work. The Mexican artist questions both the language and the structure of a work, from its foundations to its rafters. The exhibition Apollinaire's Misspell and Other Calligrams pays tribute to the singularity of the poems written by Apollinaire right in the middle of the First World War.
Kerry Tribe, still from Exquisite Corpse, 2016.
Kerry Tribe: Faena Art, Biennale of Moving Images, PAMM, Miami
Kerry Tribe: Exquisite Corpse
Pérez Art Museum Miami
Thursday, April 20th, 7 pm
PAMM will screen Exquisite Corpse, a 51-minute installation and single-channel film that follows the 51-mile Los Angeles River from its origins in the San Fernando Valley northeast of the city to its terminus at the Pacific Ocean. Using a detailed map as a script, Tribe's camera captures the river's varied landscapes, neighborhoods, inhabitants, and communities through a string of meditative encounters that collectively describe the site, and the city, at this juncture in its history. Tribe's film is shown as part of Faena Art's presentation of highlights from the Biennale of Moving Images, on view at Faena Art April 13-30, 2017.
Ana Prvacki: Socle du Monde Biennale, Herning, Denmark
Ana Prvacki
Socle du Monde Biennale
Herning Museum of Contemporary Art
Bitten & Aage Damgaards Plads 2, DK-7400 Herning
22 April – 27 August 2017
The 2017 Socle Du Monde Biennial takes place at HEART – Herning Museum of Contemporary Art, Herning Højskole, Carl-Henning Pedersen & Else Alfelt's Museum, The Geometric Gardens and HEART's Sculpture Park.
Socle du Monde 2017 presents a wide range of works. Paintings, installation art, sculptures and performances – from colourless paintings, shit in a can and live chickens to art exchanges and a dancing light robot.
Market, 2017, Oil and enamel on canvas over wood panel, 183 x 228,5 cm
Kirsten Everberg: Galerie Eric Hussenot, Paris
Kirsten Everberg
Galerie Eric Hussenot, Paris
22 April - 3 June 2017
Exploring the complex relationships between culture, history and place, Kirsten Everberg applies the framework of distinct ethnic neighborhoods in Los Angeles to create a new body of work, using the concept of Chinatown as a jumping off point.
Heavy Metal Tall Stack: Beige and Blues, 2017 (detail; foreground), Powder-coated steel, 400 x 70 x 50 cm, Photo © Andrea Rossetti
Angela Bulloch: Esther Schipper, Berlin
Angela Bulloch: Heavy Metal Body
Esther Schipper,
Potsdamer Strasse 81E
D-10785 Berlin
April 28 – June 17, 2017
Drawing on her previous experiments with geometrical distortion, these new works expand in form and size. If the stylized geometry of Heavy Metal Tall Stack: Beige and Blues, which stands at more than three meters tall, recalls the formal aesthetics of Constantin Brâncuși's sculptures, something about the appearance of Heavy Metal Stack: Fat Beige Three and Heavy Metal Stack of Four: Red Monster—three massive rhomboid elements for the former and a pyramid-like shape for the latter—associated with their title, invokes the idea of an anthropomorphic presence. By changing the appearance of each column in accordance to one's point of view, Bulloch plays with our perception of sculptures while orchestrating our experience as gallery visitors. To envision the work in its entirety the viewer must circulate around the sculpture, which at times seems graphic—almost abstract—shifting between two and three dimensions. Here, the artist transfers major themes of Minimalism into the present, and more specifically, the aesthetic exploration of objects' influence on spatial perception.
"Boomerang (Aboriginal Sin)", 2017, Acrylic and oil on linen, 208.3 x 198 x 4 cm / 82 x 78 x 1.6 inches © the artist, courtesy Capitain Petzel, Berlin, photo: Jens Ziehe
Charline Von Heyl: Capitain Petzel, Berlin
Charline Von Heyl
Capitain Petzel, Berlin
Karl-Marx-Allee 45, 10178 Berlin, Germany
April 28 – June 3, 2017
Charline von Heyl creates paintings that function as self-perpetuating visual events, enigmatic pre- sences silently seducing or disturbing the viewer. They are often funny, but not afraid of poetic depth and even pathos. The colors are active: they shift, empty out or recharge depending on the time of day and the position of the viewer. Interference colors made to engage paradoxically with light con- fuse the hierarchy of tonality. Copper, aluminum-flakes, dirty pastels, charcoal powder, fluorescents but also graphic black and white are laid down in unstable and abused layers to provoking different moods and feelings.
Fiona Banner: De Pont Museum, Tilburg, Netherlands
Fiona Banner: Runway (AW 17)
De Pont Museum
Wilhelminapark 1
5041 EA Tilburg, Netherlands
29 Apr - 27 Aug 2017
In the vast industrial space of De Pont's main gallery, Banner creates a theatrical mise-en-scène where towering helicopter rotor blades and re-purposed military plane parts become the unknowing cast. Her deft handling of these objects reveals their anthropomorphic potential: Gazelle helicopter rotor blades are reminiscent of totem poles; a pair of Harrier nose cones suggest breasts, and elsewhere faces emerge from the juxtaposition of Jaguar drop tanks with abstract graphite drawings of full stops in different typefaces. Banner has long been fascinated by military aircraft, finding them at once beautiful and horrifying; almost 'prehistoric, from a time before words'.
Black Tourmaline (Front) & Las escaleras, 2017
Kerry Tribe: Parque Galeria, Mexico City
Kerry Tribe: the word the wall la palabra la pared
Parque Galeria,
Puebla 170. Roma Norte
06700. Mexico City DF
May 6 - July 1, 2017
Tribe's new works in video, sculpture and photography playfully literalize ideas around linguistic communication, transnational relations and empathy. The exhibition continues Tribe's investigation of the "speaking subject" who narrates their experience for an audience. The show is organized around a video in English and Spanish called Afasia (2017) which features the artist's friend photographer Christopher Riley, who, at the age of 43, suffered a left hemisphere stroke that severely limited his ability to speak, write and understand language. Despite these challenges, he passionately communicates an appreciation of his life and the vast world around him. The video is projected in a make-shift screening room built from the remains of what had previously been the gallery's front wall.
Cultured: Brian Butler, 1301PE
An Open Book by Maxwell Williams
Brian Butler, the owner of 1301PE, holds back on nothing for our two-hour interview. He's held a prime vantage point for more than two decades and we touch on subjects like how in the past few years, big galleries have tried to control artists the same way Monsanto controls seeds (choosing monoculture over biodiversity); how our culture wants "the Harry Potter box set" of a particular artist's works (the finished story, instead of waiting to see how it develops) and how the gallery opened 25 years ago on the inauspicious day that the L.A. Riots began."We sat around for a couple of days with nobody coming to see the exhibition," Butler says, reminiscing back to the inaugural Ericson & Ziegler show in April, 1992.
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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.
LA Weekly: 15 Female Artists Who’ve Shaped the L.A. Art Scene
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.
Installation view
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.
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.
LA Weekly: 5 Art Shows to See in L.A This Week
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.
Image Credits: T. Kelly Mason.
Diana Thater: "A Runaway World " at The Mistake Room, Los Angeles
Diana Thater: A Runaway World
The Mistake Room
1811 E. 20th Street
Los Angeles, CA 90058
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.