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“It’s where the heart is. And the liver. And the genitals.” Letting all the skeletons out of the closet in group show Homeward Bound

7 November 2017

The Homeward Bound group exhibition at Los Angeles’ Nicodim Gallery opened October 21 and is running to December 9.

Homeward Bound (2017) Installation view. Courtesy the artists + Nicodim Gallery, Los Angeles.

The show includes work by over 25 artists including Monica MajoliKris LemsaluSimphiwe Ndzube, Ciprian Muresan, Namio Harukawa and Polly Borland among others. The press release and curatorial premise frames the concept of home “at its sweetest, most sinister, most honest. It’s where the heart is. And the liver. And the genitals.”

Playing with the format of a domestic setting, the installation fills the space and works play off and on each other, bleeding or stomping into the next where “all the skeletons are let out of the closet.” Designed by Oliver M. Furth, the gallery space becomes a home with each room exploring fenshui and friction. Moments of waiting for a lover to return, lounging with bondage and jello moulds that transform in orifices, contribute to the act of interior decorating.**

The Homeward Bound group exhibition is on at Los Angeles’ Nicodim Gallery, running October 21 to December 9, 2017.

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“We are all together, like one big head.” Fantasy + aftermath in Paradise On Mars group show at OJ

6 November 2017

The Paradise On Mars group exhibition at Istanbul’s OJ Art Space opened September 15 and ran to September 29.

Curated by Erdem Cetrez, the show includes work by Adam StampAndrew BirkBerk CakmakciBora AkinciturkBurkut KumEmma SternHuey CrowleyLara Joy EvansMichele GabrieleMonia Ben HamoudaNicole Colombo, Pinar Marul and Vitaly Bezpalov.

An exhibition of painting, sculpture, video and installation, the curatorial premise “fantasizes the cultural aftermath of the colonization of Mars,” where current politics and geographies are explored through non-linear narrative within both the physical and present-day realities of inhabiting Earth as well as the desire for a Martian landscape. The press included a text by Andy Heckboyd that reads:

We are all together, like one big head. Floating over the land like a balloon. 
Each line-in to the central heart. It’s located in the nose. 
The thing that was figured out on Earth was how to use the internet to connect everyone to everything. 
The data would be useful. A big head on Mars. 
Is full of many different people, in individual unity.

The Paradise On Mars group exhibition at Istanbul’s OJ Art Space ran September 15 to September 29, 2017.

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Music for driving: Stockholm’s Ninort El-Khoury shares his Radio Beirut mix inspired by the streets of second home in Lebanon

3 November 2017

Stockholm-based DJ Ninort El-Khoury grew up in Gothenburg to a Lebanese father. His experience is like that of many children of first-generation immigrant families, split between identities, not quite fitting in either way. That experience is part of what brought El-Khoury back to Beirut in October this year, where he produced a mix for the local Radio Beirut, here shared via AQNB.

Tracks by Joanna Brouk, Firaasbeats and artist and producer Kareem Lotfy are included in the mix, which is described by the Glum Trigger label c0-founder (with ishi vu and Niklas) as capturing the feeling and energy of driving through the city. The selection — that has everything from meditation music and Swedish dancehall to experimental electronica and hip hop — captures a sense of wistful movement and longing that only a person whose heart is split across geographies can really understand. El-Khoury opted to go without his immediate family to Beirut for the second time this year, getting to know a place that might have been his birthplace better on his own terms. “We just go from one uncle’s house to another uncle’s house and drink coffee and eat,” he says about his formative experiences of Beirut and Zahle village, where his dad is from, “That’s nice but for a restless person like me, I got bored. I want to go out with my cousins and meet people, or just look and feel the energy from my other home.”**

Courtesy Ninort El-Khoury.

TRACK LISTING:
1. Linkwood, ‘Outside In [expressions]’
2. Joanna Brouk, ‘The Creative’
3. Muslimgauze, ‘Jawani Zindabad’
4. Noctilucents, ‘Run With Me’
5. Shakarchi & Stranéus, ‘Wheel Of Fortune (Unreleased)’
6. Firaasbeats, ‘Zen Mod’
7. ishi vu, ‘U (Unreleased)’
8. Sch, ‘Je La Connais’
9. Khotin, ‘Dawn Flowers’
10. Cos/mes, ‘Dfg (Featuring Dr. Nishimura)’
11. Kareem Lotfy, ‘Triplego Eau Frais Mallorca Version’
12. Orlando, ‘The Tide That Moves Me’
13. Mo x Aden x Asme Jet Lyriks
14. Mishon, ‘Rock My Chain (Instrumental)’
15. E 40 Ft. T I. And Chris Brown, ‘Episode Instrumental’
16. Lanark Artefax, ‘Touch Absence (Intimidating Stillness Mix)’
17. Occult Orientated Crime, ‘Japanese Trains’
18. Grxgvr, ‘Skinny2-the-bone’

ishi vu’s P—O—D EP is out via Stockholm’s Glum Trigger label in November.

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Tainted Love: Surface, image + display in modernist architecture encouraging exhibitionism in bad faith for the Soft Sell group show

2 November 2017

The Soft Sell group exhibition is on at Berlin’s ROOM E-10 27 at Center, opening November 2 and running to December 2.

Featuring Aline Bouvy, Clémence de la Tour du Pin, Julius Heinemann, Harry Sanderson, Maximilian Schmoetzer, and Omsk Social Club, the show explores the role of architecture in terms of asserting and determining a subject position.

It’s title is a reference to the idea of soft power, as well as the 80s British New Wave band Soft Cell, while suggesting “a padded cell and by extension the panoptic gaze of the state or the institution.” Also referencing Benjamin H. Bratton‘s reverse panopticon effect as ‘exhibitionism in bad faith,’ where one understands they’re being watched but acts as if they’re not, the show looks at architecture, as it is employed within commercial and museum settings. It thus places emphasis on ‘surface, image and display,’ while rendering us “passive consumers and impotent political agents.”

See the FB event page for details.**

Maximilian Schmoetzer, And then masses of detached stones and other accessories common to the genre. (2017). Installation detail. Courtesy the artist + Room E-10 27, Berlin.
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What’s with all the dogs? Scattered objects + playful conversation in Laurence Sturla’s Behind the Fridge at Goswell Road

2 November 2017

Laurence Sturla presented solo exhibition Behind the Fridge at Paris’ Goswell Road, which ran September 9 to September 17.

Laurence Sturla Behind The Fridge (2017) Installation view. Courtesy the artist + Goswell Road, Paris.

Objects scattered around the room enter into a playful conversation with each other: tiny dogs placed on the floor, on bookends, on shelves and walls, a bright pink bucket with a strainer cast in bronze, plaster, crystals, clay mixture that hangs off of steel welded frames.

The press release describes the space but admits the question, “is something we can’t quite put our finger on? Dogs?” Accompanying the exhibition is a book publication of Sturla’s work, with 25 copies available and also online.

Goswell Road is Paris-based art space and publishing house run by Ruiz Stephinson.**

Laurence Sturla’s Behind the Fridge at Paris’ Goswell Road which ran September 9 to September 17, 2017.

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Instant Radical Inclusion Technique: the decentralised digital art biennale The Wrong opens online and IRL, Nov 1 – Jan 31

1 November 2017

The third edition of The Wrong biennale opens online November 1 and is running to January 31, 2018.

The largest ‘decentralised’ digital art biennale, founded by David Quiles Guilló, brings together over 1,600 artists who are participating in both the virtual curated ‘pavillions’ as well as spreading out into offline locations called ’embassies’ which feature live performance, workshops, exhibitions and talks around the world. Some of these include large scale group exhibitions   c a r e x Clusterduck collaborative event at Berlin’s Panke.gallery with performances by Rui Ho among others, free_art_-_4RH1V35 at Zagreb’s Galerija SivaSPAM POWER at Abu Dhabi’s AAD, Historia de Un Malentendido at Buenos Aires’ Espacio Pla, and GFX Free Error at Istanbul’s Space Debris Art to name a few. 

The project is open to participation and embraces an “instant radical inclusion trademark technique” with an open source team of over 80 curators. ‘Instant Radical Inclusion’ means “if you believe your art and/or your curating talent must be part of The Wrong, then for us it’s a must” and it accepts submissions up until the last day of the event.

Visit The Wrong website for more details.**

 

 

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“The Official Shoes of White People.” Moving through assemblage + friction in Juliana Huxtable’s untitled solo show at Project Native Informant

1 November 2017

Juliana Huxtable‘s solo exhibition at London’s Project Native Informant opened September 13 and ran to October 21.

Juliana Huxtable ‘TBT’ (2017) Installation view. Courtesy the artist + Project Native Informant, London.

The installation is an assemblage of fabric, posters and photography, where slogans and words crop up inconspicuously, rubbing against each other in their own conversation. ‘Black Lives Matter’ and ‘Anti-Antifa’ appear tattooed on the same man’s body, badge and other punk insignias read ‘Ska & Rocksteady,’ ‘Corporeal Anarchy’ and ‘Rock Against Racism’ and ‘SwastikaFetish.’ Intertwined is another layer of imagined conversation through a dialogue taking place in speech bubbles.

A number of posters are plastered onto a painted green wall that move between a language of newspaper headlines and more personal notes or twitter captions, such as ‘THE OFFICIAL SHOES OF WHITE PEOPLE’ and ‘…SHE ADOPTED A BRITISH ACCENT TO LAND A SKINHEAD BOYFRIEND AND KEPT UP THE ACT FOR MONTHS.’

The artist, DJ, poet and performer also hosted an opening night after party at Bethnal Green Working Men’s Club with DJ Calvin Klein and Manara to accompany the exhibition.

Juliana Huxtable’s solo exhibition at London’s Project Native Informant opened September 13 and ran to October 21.

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