Arcadia Missa and Supplement are presenting the Everyone is RichNowApparently group exhibition at New York’s 225 Canal Street, opening January 8 and running to January 29.
After the end of the show, the two London-based spaces will alternate using 255 Canal Street for further exhibitions, so keep an eye out for upcoming projects.
The Casa Delirium night is on at London’s Health Mate Cafe on November 26.
Featuring DJ sets by Chooc Ly Tan, Imran Perretta, Philomene Pirecki and Paul Purgas — all visual artists in their own right — the event carries on an ongoing programme led by the Kings Cross internet cafe on Caledonian Road.
The organisation, which has been operating sporadic hours, has hosted intermittent exhibitions, talks, launches and listening parties, including a screening and talk by Beata Wilczek and Recsund’s INTELLECTUAL REJECTexhibition late last year.
The Crab Walk group exhibition is on at Sunderland’s Northern Gallery for Contemporary(NGCA), opening October 29 and running to February 20, 2016.
The show is curated by Ned McConnell and George Vasey and aims to present a variety of curatorial methods and historiographical approaches to space and place. Plymouth’s KARST hosted the original incarnation of the show, but in line with a polyphonic approach to history, this iteration contains new artists and commissions, alongside a brand new title.
New work as part of Crab Walk will draw on a range of media, including sculpture, audio, film and painting in conversation with Kazimir Malevich’s ‘Black Square‘ (1915). The tension between object and image, place and history will inform the works on show.
Like a lot of the contemporary art exhibitions these days, the press release for Geneva exhibition In the Wake, that ran July 3 to August 2, offers little logistical information and a lot of poetic gesticulation. The opening line, for example, simply reads, “no matter what you sing I will already know what you speak of”, and on plugging the words into Google, hoping for a song lyric or a text remnant with which to contextualise, the only relevant hit was T.S. Eliot’s ‘The Love Song of J. Alfred Prufrock’. It was a coincidence, to be sure, but a happy one; few lines could describe the general atmosphere of In the Wake better than Eliot’s “an evening spread out against the sky / like a patient etherized upon a table”.
The exhibition, which was curated by Julia Marchand and ran at Geneva’s Truth and Consequences from July 3 to August 2, featured recent works by London-based artists Steve Bishop and Philomene Pirecki. In an email-exchange with Marchand, she reveals that the concept was influenced by Yves Lomax’s Sounding the Event, a book that marries academic and poetic writing to describe the passage of an event.
Philomene Pirecki works, installation view. Image courtesy Truth and Consequences.
In a compact corner of the gallery stood a small, white cubicle screening Bishop’s latest video installation, ‘I See Them, Do You?’ (2014). Scattered around it were other pieces by Bishop: a melamine-covered board, a framed photocopy, an abandoned backpack. Along the gallery’s alternate walls were Pirecki’s works: her Reflecting White series, a photographic vinyl from her ‘White Wall’ (2014) and ‘White Painting’ (2014), the ink-and-paper sculpture resting on the ground, the four-minute audio of the artist’s heartbeat beating from the gallery’s back wall.
Interestingly, In the Wake was accompanied by an exhibition booklet that featured not only an interview between Marchand and the two artists, but also the textual contributions of artists and writers such as Peter Burleigh, Laura McLean-Ferris, Tom Morton of Cubitt Gallery, David Price, and Bastien Rousseau. The effect was that of a dynamic coming-together, a reactive meta-space in which the textual responses to the exhibition became the greater exhibition itself. **
