Both physical and virtual, the show will include video, performance, and sculpture, all exploring the way our feelings and actions have been profoundly altered and speculations on what the future will bring. Picking apart the layers of hybridity, the 22 artists included examine how this situation “influences our globally networked world.”
The press release leaves little to be revealed, but includes fragmentary sentences that ask us to piece together and create relations between “generating flows of images no one has the stomach to digest” and “a half asleep flower [who] wakes up in a rage and throws her smartphone at the face of her inquisitor.” Ending in “Resistance is the first move, listening is the strategy, conversation comes next?” we can expect a program dedicated to fostering community and dialogue, and its place within finding answers.
Diaspore is project space commited to ideas of “ecology(ies), ecosystems and their communities” and is led by artists, scientists, chefs and other community groups, and is open to “all who wish to get involved.”
The LA-based performance and video artist, Hirsch, will be performing the new work which “delves into the predicament of her recent marriage, a growing addiction to pornography, and an endearing bitterness for sex positive feminism.” Hirsch’s practice looks at culture and gender through the lens of technology, and in usually occupying the subject in front of the lens, she deals with “personal issues with emotion, sincerity, and comical levity.”
Yuri Pattison is presenting solo exhibition Citizens of Nowhere at Vienna’s Kevin Space, opening March 10 and running to April 23.
Curated by Franziska Sophie Wildförster, the London-based artists’ first solo exhibition with the gallery will explore the organisation of space through the “complex and often contradictory constructions of national and global identities through visual cultures [and] communication technologies.”
The newly commissioned work will be an immersive installation that revolves around a video where sculptural architecture and digital elements will both manipulate and simulate “contemporary political and economic subjectivities.”
Lock Up International is presenting the next iteration of its nomadic project space in Tokyo, with locations TBA, opening September 26 and running to October 16.
Started by Lewis Teague Wright, the series — which has already appeared in Mexico City, Istanbul, London and Los Angeles — uses storage spaces worldwide as exhibition venues. They usually work as three-weeklong solo show in each location it chooses, with personally guided viewings arranged by appointment. AQNB reviewed a recent exhibition of Nevine Mahmoud’s Three Isolated Effectsin LA and Menna Comminetti and Sophie Lee presented Boy, ’12in London.
The Tokyo series will present work by Yuri Pattison (September 26 – October 2), Martin Kohout(October 3 – 9), and Russell Maurice (October 10 – 16). The first show was initiated by Pattison’s interest in collector marts in the Akihabara and Nakano Broadway stations, small stores in malls that rent out glass lockers.
The project continues to act as a way to bypass the gallery, art dealer, and collector, opting to go directly to the object’s end point, stored safely and hidden from view.
The London-based artist’s solo exhibition runs from July 7 to August 28, occupies the entire gallery and is a major new commission resulting from Pattison’s 18-month residency at Chisenhale Gallery, produced in partnership with Create.
An immersive installation comprised of digital and sculptural elements creates a “speculative live/work environment” that draws influence from “Modernist architecture and science fiction”, the show is an imagined vision of a “utopian space of fantastic social and political potential”.
Nora N. Khan, a contributing Editor at Rhizome, has been commissioned to write ‘Commons‘, a fictional text in response to Pattison’s new work.
The As Rights Go By – On the Erosion and Denial of Rights group show is on at Vienna’s freiraum quartier21 space in the MuseumsQuartier, opening April 13 and running to June 5.
Organised by curator Sabine Winkler and featuring the likes of Yuri Pattison, James Bridle and Nikita Kadan,the artworks in the large exhibition explore the impact of globalisation, financialisation, and mass surveillance on civil rights and human rights, as well as the social and judicial inequality they entail.
The issue of the distribution of rights is also topical now in an art context, the press release notes, and in this respect the show, which is held in on the ground floor of a building that gathers ‘creatives’ and people working in the cultural industry, will extend its exploration of social or societal asymmetries inside aesthetics and what is visible of the conditions of an individual’s art production.
Other works featured in As Rights Go By will be a board game version of everyday reality in crisis-ridden Greece by Lina Theodorou, a legal contract written backwards byCarey Young and works by George Drivas, Silvia Beck, Özlem Günyol/Mustafa Kunt, Kollektiv Migrafona (Belinda Kazeem, Petja Dimitrova, Radostina Patulova, Vlatka Frketić, Vina Yun), Vladimir Miladinović, Lorenzo Pezzani und Charles Heller (Forensic Architecture), Julien Prévieux, Andrea Ressi, and Judith Siegmund.
Abjects, a group exhibition at Berlin’s Import Projects, curated by Franziska Sophie Wildförster, brought together artists’ Eloïse Bonneviot,Emily Jones, Paul Kneale, Yuri Pattison andAndrew Norman Wilson,which ran from September 19 to October 25, 2015. Julia Kristeva’s theory of the abject is summarised in the press release, acting as a foundation from which the works depart and expand on a contemporary experience of the vulnerable body. Shifting from a focus of disgust and revulsion at the raw corporeal materiality, the exhibition finds disturbance within the disparity between a disembodied, infinite connectedness of the immaterial and the opaque constraints produced by the digital economy. The works reflect on the hidden pathways that lurk under, above and in between a contemporary experience mediated within the age of technology and information.
The installation is clean and institutionalised. Pattison presents us with a makeshift desk made of steel shelving titled ‘productivity table’. Six Modafinil tablets (used for combatting fatigue and distraction) are laid out beside a Google prototype computer. The exposed aesthetic extends into ‘dust, scraper, fan .1-5′; a set of five rectangular acrylic boxes placed on the wall and floor of the gallery. Jones’ ‘The Draining of the Mesopotamian Marshes of Iraq’ combines a picketing aesthetic with factual and instructional language within three separate sculptural assemblages. Sitting between a cenotaph and a memorial, a yellow sign that reads, “They were shouting and singing at the top of their lungs” is held up by bits of wood clumsily nailed together. Beside that lies another yellow sign quietly placed on the floor that announces, “The use of force may be necessary to protect life.”
Framed between the signs in the first room, Bonneviot’s tent sits in the doorway of the second. Titled ‘Thinking Like A Mountain—Limited’ the installation fills the small personal space with camping gear, energy bar wrappers, notes of paper and a laptop playing a video game. The recreation is unclear but the aesthetics combine the act of trekking, whether in camping, protesting or the passing of time in a ‘gaming hole’.
Also strongly focusing on material and its residue, Wilson’s ‘Global Mosquito City Proposal’ uses the hardware of a computer to create a sci-fi housing scenario. Two dolls are propped on top of each other in a sexual act. Computer parts, concrete, resin, oil paint, pepper, plastic, acrylic paint, foam and cotton are forced together into an abrasive dollhouse. Beside it, a proposition to Bill and Melinda Gates asks for a contribution of “their blood to malaria mosquito larvae that could potentially be nurtured in this computer-habitat to erase all human beings around the world.”
Outside the window, a bag of water hangs delicately. Titled ‘Insect Repellant’ it encases hydrochloric acid, liquified coins, and copper. In contrast to the sic-fi machine invested manifesto, Kneale’s ‘Aphasia Tags and Performative Empathy’ presents abstract images; the content barely recognisable. Light and hopeful, the images are layers of time made by using the ‘scan’ function of a printer, leaving the lid open. The mechanics replace the intent, and the painterly result is naturalistic in its use of space, daylight and floating particles.**
There is little information given around the coming show, Untitled_Map 2011, but Łakomy’s work, which takes recognisable items and objects and makes them somehow into brief memorials, may seem to fit perfectly within Lock Up International’s transient set up. The project, set up by artist Lewis Teague Wrightopens shows around the world, occupying different storage units for short periods of time.
Meanwhile, there will also be group show Safety Box Deposit in Frankfurt, opening March 4 and running to March 11. The show is co-curated by Lock Up and Celena Ohmer and it is inside a bank vault, with each artist making something to be unlocked.
There is little information on the theme of the exhibition save for a short bit of poetry referencing Greek mythology’s tragic god-couple Orpheus and Eurydice, physical highways and information networks as a space of transition and a potential analogy for lost hope:
“It is night. Orpheus glances back and crosses Eurydice’s gaze Intersecting between Grand and Orpheus, the highway a place of transition where some things change others remain the same at this speed, systems of information and structures of power are unveiled
Who is looking?
I don’t know
I don’t care
Goethe Institut launches the second part of their collaborative mini-series with Banner Repeater, titled Publishing as Process and taking place at the London location on November 18 .
The series concentrates on exhibition and publishing in the digital age with a programme of readings and panel discussions addressing how the two fields are effected by the “digitalisation and the distribution channels the internet provides”, including Ché Zara Blomfield, Alessandro Ludovico, Yuri Pattison, and Ami Clarke from Banner Repeater as a moderator.
Inspired by Julia Kristeva’s 1980 essay “Powers of the Horrors: An essay on Abjection”, the show explores her notion of the abject and its “psychic origins and mechanisms of revulsion and disgust” emerging out of a confrontation with death, with violence, with vulnerability of decay.
Featuring artists based across the timezones of New York, LA and London, both presentations take time and space as key themes. Send Cycle is an “urgent combination of the high and low tech” in its combined staged photography and found images (or, perhaps, objects) taken from the internet. The Monopole Memory installation explores memory as its own place, that in turn is physically realised in the Der Würfel eighty-centimetre cubed project space.
The workshop is Pattison’s response to the “growing anxiety surrounding surveillance, mass communication, big data and information overload”, a kind of lesson in everything from the evasion of online monitoring systems and improvement of our online security to how to relax amidst it all.
Erlanger’s solo show, titled Meat Eater, begins with a transcript between a TL and an MH. “How should it begin?” asks TL. “It should begin with ‘do you remember’,” answers MH. From there, the two characters meander through what could be an art space, discussing symbolism and subjectivity, the “architecture for a history”, ending full circle with “I don’t remember.”
Always Brian (TI AMO) owes its title to street art. The only evidence of an underground language exposed in the light of day, the words could mean a range of things, their semantics depending on any number of factors that are too many to quantify. It doesn’t stop people and their programmes from trying though, with linguistic inquiry and word count text analysis software (LIWC) being one of them. It’s this purported window into the “emotional and cognitive worlds” of any given social media user that provides an interesting launching point for this group exhibition. Organised by 63rd-77th STEPS and running January 16 to 18, the show becomes an obtuse inquiry into the implications of the monitoring and manipulation of peoples’ very moods and the way we read them via the text they choose to share.
The three day exhibition marked a year since Fabio Santacroce founded the aforementioned “art staircase”, that often exhibits off-site, by taking up residence across the three rooms where the spray-paint tag of ‘Brian’ and his love were discovered at the train station of Bari, Italy. It acts as a nucleus in a synaptic network of information shared between nine artists that include Rosa Ciano, Benjamin Asam Kellogg, Lucia Leuci and Yuri Pattison; their self-contained clusters of personalised information presenting images and objects as codes and signifiers that can be read any number of ways.
Jasper Spicero‘s wall-hung iPad featuring a generic looking bedroom is tangled up inside a web of taut and tied-together shoelaces. Cecile B. Evans‘ dancing animated scissors are singing Sade’s ‘No Ordinary Love’ through the stilted tonal blocks of a Vocaloid application in a projection of ‘How happy a Thing can be‘ (2014). Matthew Landry‘s ‘Whisper’ collection of personalised image-board posts tacked to a couple planks of wood announce “MY BEST FRIEND MAKES ME UNCOMFORTABLE” and “Ummm”. Amalia Ulman‘s slide show presentation ‘The Future Ahead’ (2014) video – also shown at the artist’s The Destruction Of Experience solo exhibition in London last year – takes Justin Bieber as a starting point to exploring femininity in terms of masculinity and teen girl fandom: “he’s still monetizing on their prepubescent love-business”.
Before you read into the following riddle that is the Always Brian (TI AMO) presentation text – assembled from a harvest of status updates, mail and conversations – spare a thought for the fact that Santacroce himself describes it as “fragments from conversation mixed with personal considerations and turned into a “fractured”, hyper-textual poetry without any specific revealing intent”.
“Always Brian (TI AMO), Corso Italia and a burnt kebab. I like how you fall in sleep on trains, you feel fastened to Earth. Leaves are lying about their agony and we have all been gifted with a YEAR IN REVIEW. It tastes iron. Entertaining revolution, performed poverty, wealthy orgasm. Kamut year. DID YOU UPGRADE YOUR REVERENCE? Happiness is not a cinematographic effect and you have been approving only “first class” tags. LINGUISTIC INQUIRY AND WORD COUNT.”
Each sentence bares a semantic logic all it’s own like the exhibition of artworks it introduces. Its artists’ ability to communicate relies heavily on their association with last year’s 63rd – 77th STEPS programme, as well as their nebulous interrelation between one another, almost entirely by virtue of using text as material, and fragments as form. Understanding that might get you closer to the artists’ intentions, but it also might not. **