The london-based Canadian artist will present new works for her second solo project with Emalin; the first, Honeymoon in Pickle Paradise (2014) took place in a hotel room at the Landmark Hotel.
Her practice uses a range of materials from cosmetics, edible ingredients and medicinal products to name a few, creating narratives out of both autobiographical and external sources from popular culture to dissect the “patriarchal power structures underpinning both the visual experience and social relations performed by Papadopoulos’ characters.”
Focusing on the act of ‘dolling onself up’, the work will explore archetype, flattening, and dense collage.
Visit the Emalin website for details.**
The ‘Plastique Fantastique Welcome Bi SON Oil MAN’ performance at London’s IMT Gallery will take place on April 27.
David Burrows, Alex Marzeta, Simon O’Sullivan and Vanessa Page of collective Plastique Fantastique will perform a series of Drone Folk songs played in a loop throughout the evening. Over the course of the night, the group will follow a series of steps, using “chroma-key milk, oil, golf-clubs and projections” to bring fictional character Bi-SON-Oil-MAN to life.
The performance is a new iteration from a previous one commissioned by Lucy A. Sames and Dane Sutherland for CHEMHEX EXTRACT exhibition at Aberdeen’s PVA Gallery.
Visit the IMT Gallery website for details.**
The Grotto Capitale group exhibition is on at Berlin’s Exile, opening April 28 and running to May 27.
The show features work by Beatrice Balcou, Kathe Burkhart, Zuzanna Czebatul, Katharina Marszewski & Natalie Häusler, Nschotschi Haslinger, Nona Inescu, Anna Jandt, Hanne Lippard, Kazuko Miyamoto, Chiara No, Nathalie Du Pasquier, Verena Pfisterer, and Paul Sochacki.
The press release reveals little of what to expect, providing only a quote from performer Grace Jones, “But still, built into me was this button – when pressed, the button would save me. I don’t know if I was in charge of this button, or if someone somewhere praying for me was in charge of it.”
The event is is running in tandem with Gallery Weekend Berlin, which opens April 28 to 30.
See the Exile Gallery website for details.**
The Beijing-based artist will present a series of new sculptures looking at the urban environment and the increased change on our habitat by economic and technological development. There will also be a new video ‘Dengue Dengue Dengue’ which was made for exhibition A Temporary Futures Institute at Antwerp’s M HKA, which also opens on April 28.
The three-channel film looks at how “habits contaminate our behavior, spreading around the world like an infectious disease. The infection is a transformation happening inside of us; the work calls for a retreat from these dynamics in order to learn the possibilities of breaking habits.”
The New York-based artist will present a new series of painting and sculpture that will explore “the optics of the computer screen and the implications of light on abstraction, through digital reproductions of material surfaces.” Digitally altering holographic and translucent material, and adding airbrush acrylic paint are some of the processes behind Vieux’s layering techniques.
The title of the exhibition comes from ‘enmeshment’; a concept that refers to “relationships between two or more entities in which personal boundaries are permeable and unclear.”
See the Annka Kultys website for details.**
The press release includes a text describing the textured and tangible world around us in microscopic detail by Jenny Gagalka:
“…and a feedback loop. A suite of fans oscillates. Airborne liquid solidifies. Paint dries.
A fruity floral scent, the smallest particles, pigments, spread with hair onto all-natural fibers wrapped around a wooden support. Then I fill the tub halfway, then riding with my surfboard, surfboard, surfboard, graining on that wood, graining, graining on that wood. A misunderstanding.”
On April 30 and part of the Studio Sunday series, Heilbron will also hold a reading called ‘The End of the World, Detoxification and Farming in the 17th Century Competence+ Quality = safety’ with Klara Kayser. Taking the form of notes, poems and found texts, the pair will “attempt to draw correlations between detoxification, harvesting in the 17th century, and the imminent Armageddon.”
See the Ashley Berlin website for details.**
Leaving us with some anticipation, the press release does not provide any details about the show, a part from a piece of text that is described to be quoting and misquoting authors such as J.G. Ballard, Hans Blumenberg and the New-York-based artist herself among many others, with an excerpt such as:
„the world is beginning to flower into wounds. That road over there, it used to carry me to my lover, now it’s going nowhere. Sad“. “I remember driving so fast, I had the impression that all the cars on the highway were stationary, the spinning earth racing beneath them to create an illusion of movement”, one of them said. „There are no accidents, only nature throwing her weight around“
This is Hasselknippe’s second solo show with DREI and also takes place at the beginning of Art Cologne 2017, which runs April 26 to 29. There will be both a breakfast preview and an opening reception in the evening.
See the DREI website for details.**
Addressing themes of ‘postgenderism,’ the works explore the ways in which humans are losing contact with their physical body through “the increasing automation of sexual pleasure.” Dudek will be presenting a fragmented photograph, as well as a large concrete wall that morphs into the texture of skin. The sculptural installation explores “a sense of the physicality being broken and a rupture in the barrier that allows for human interconnectivity.” Marie will also be presenting a sculptural intervention in the space, where casts of sex toys explore the “impact of sex technology on society.”
See the Roman Road website for details.**
The film selection “narrates a composite tale of our joyously soulless, insular, tension and angst-ridden times” and includes work by Larry Achiampong, Keren Cytter, Casey Jane Ellison, Ed Fornieles, Yung Jake, Rachel Maclean, Jillian Mayer, Takeshi Murata, Hannah Perry, Hannah Quinlan & Rosie Hastings, Jacolby Satterwhite and Zadie Xa.
Now in its 51st year, Art Cologne 2017 will mark a new collaboration with video, sound and web-based art platform Daata Editions. Played on a loop throughout the duration of the fair, the selected films all touch on the “inescapable internet and screen dependency” of our times.
Visit the Art Cologne webpage for more details.**
The 2017 art fair will be host to 145 galleries, and is divided into sections which include Discovery (young and emerging), Prime (established modern and contemporary artists), Rediscovery (art work spanning from 1917 to 1987, including both living and deceased artists) and Solo presentations, which offer an in depth approach to viewing an artist’s practice.
There are a number of other events happening outside of the art fair that we recommend, including Indpendent Brussels, running April 19 to 23, and the fifth edition of Girls Heart Brussels that focuses solely on “lesbian, queer and feminist initiatives.”
Some of our recommendations include:
– Sara Sejin Chang (Sara van der Heide) premieres film Brussels (2016) at Les Brigittines, Apr 21
– Miaux live performance at Les Brigittines, Apr 22
– Aline Bouvy gives a guided tour of Maison Grégoire, Apr 23
– Carlos/Ishikawa London presents work by Issy Wood & Darja Bajagić
– Levy Delval presents works by Cheryl Donegan, Alex Morrison and Mohamed Namou
– Exile presents a solo presentation of new work by Nathalie Du Pasquier
See the Art Brussels website for the full programme and more details.**
SPF 17 (Spring Performance Festival) at Amsterdam’s Cinetol will take place on April 23.
Organized by Jeanine Hofland and curated by Geo Wyeth, the “block party festival of performances” will feature niv Acosta with CLAPBACK, Johannes Büttner‘s robotic vacuum cleaners ‘Erika and Jürgen,’ DYNASTY HANDBAG with a “mixed handbag of songs” in ‘I Never Were Again, A Concert,’ a five hour ‘sympoietic’ in Dr. Holobiont and the Lichens’ ‘We Need Gloves,’ Bruno Zhu‘s group performance ‘Confessions’ and Wyeth as master of ceremonies.
See the Kunsteverein website for details.**
Imhoff’s show can be viewed as another iteration; where previous work and architectures of thought are re-used and re-formulated through layered installations that consist a number of source materials, both original and found. The title contextualizes the show within a serial frame, one of many and the same. The press release an accompanying piece of text:
a black line, tasting of metal, cold to the touch
the line breaks off into sideways
a detour, a discourse
appearance: transparent solid
slightly yellow (correspond to the standard glass color piece of crodino)
Creating new constellations through arrangement, the work also addresses the “structuring which institutions apply to their collection, the context that determines the value and truth of an object and the architecture as part of this narrative.”
See the Galerie Fons Welters website for details.**
Created with artist and sound designer Kimmo Modig, the event will be an immersive collaboration involving a host of artists, friends and ‘characters’ featured in the book. Those include live performances by Good Sad Happy Bad, Micachu, Tirzah, and Coby Sey, as well DJ sets by Imaginary Forces, felicita, and Aimee Cliff (Angel Food), video projections by Ulijona Odišarija, compering by Brother May and a choir called AKA Pellah.
The event draws on a forthcoming podcast, audio book and radio show — also produced with Modig and accompanying the Somewhere I’ve Never Been book — to begin broadcasting on NTS Radio in late April. The multi-platform narrative, co-published by Berlin’s TLTRPreß and London’s Pool, expands on the text, which consists a cohesive selection of non-fiction essays exploring international soundscapes as an expression of heavily mediated, networked mobile environments.
The event is produced alongside The Yard’s Dan Hampson, as well as artists Sey and Levi of the Curl label and collective.
See the FB event page for details.**
Header image by Maria Mitcheva.
The Invisible Cities group exhibition is on at New York’s Wallach Art Gallery, opening April 18 and running to May 20.
Borrowing its title from Italo Calvino’s 1972 travelogue, the exhibition sets out to explore the human condition, looking at “disparate themes and differing infrastructures, mediated systems, the parafictional, and the digital baroque, to describe the multiplicities of contemporary subjectivity.”
The gallery is part of Columbia University, where graduate students in the Modern Art: Critical and Curatorial Studies program, Page Benkowski, Taylor Fisch, and Georgia Horn have curated the exhibition in tandem with their research in ‘technological intermediaries.’
See the Wallach Art Gallery website for details.**
The press release reveals little information about what to expect, but rather contextualises the show in between three disparate sources; a conversation between Rachel and Deckard about an artificial owl from Ridley Scott’s 1982 film Blade Runner, an excerpt from Arkady and Boris Strugatsky’s 1964 text Hard to Be a God about historical objectivity and a quote from Stanislaw Jerzy Lec, “Is it progress if a cannibal uses a fork?”
See the Super Dakota website for details.**
The Los Angeles-based artist, who navigates “the intersections of race, gender, age, and religion,” will explore self-portraiture through character and performance that introduces “a new cast of women,” each played by her.
Using sculpture and photography, as well as a large installation of hand-held mirrors, the series of works will employ exaggeration, camp and drag to dissect social constructions, her own biracial identity and the notions of beauty in general. Using herself as a starting points, Gaignard uses her own experience as a way to connect and speak about the “mythologies of Blackness, femininity, and youth that permeate what it means to survive, then and now, as a woman in America.”
See the the Shulamit Nazarian website for details.**
The As Above, So Below: Portals, Visions, Spirits & Mystics major exhibition is on at Dublin’s IMMA (Irish Museum of Modern Art), opening April 13 and running to August 27.
Curated by Nottingham Contemporary’s Sam Thorne and IMMA’s Rachael Thomas, the project will begin in accordance with the Vedic astral chart with a ceremony and will carry on to be structured around four chapters: ‘Portals,’ ‘Below,’ ‘Above’ and ‘Beyond,’ each section accessing the theme from a different angle.
The program includes a large number of talks, events and performances that will take “a fresh look at the role of spirituality and transcendence in our global and sceptical present” and its relationship to visual art. The line-up features a selection of ‘modern masterworks,’ including Hilma af Klint, Steve McQueen and Bruce Nauman, as well as new commissions by Matt Copson, Eoghan Ryan, Hayden Dunham, Nora Berman and John Russell, among many others.
See the IMMA website for the full programme and more details.**
AQNB is presenting a workshop on online communication for art professionals at Helsinki’s Frame on May 24.
The event is hosted by the Helsinki-based nonprofit artists’ association AV-arkki and advocate for Finnish contemporary art Frame Finland. AQNB editor Steph Kretowicz (aka Jean Kay) and Video in Common (AQNB’s production company arm) director Caroline Heron will hold a workshop aimed at art professionals “to encourage creative, varied and effective ways of using the internet in different art contexts,” as well as introducing their own practices within the field.
The free event will be tailored to the audience taking part, and an email to coordinator Maikki Lavikkala at email@example.com by April 23 is a requirement.
See the Frame website for more instructions and details of the event.**