The press release is a short essay written by Claire Fontaine in 2011 that discusses the void left by an artist whose life and practice is and was to focus on the act of withdrawal. It describes the life of Thomas who died in 1995 and who throughout his life “was part of a sort of community in which he permanently dissolved himself.”
“One might think that he multiplied pseudonyms, created an advertising agency to relinquish rights of authorship, and built a mirror of the digestive system of institutional memory, all in order to protect his oeuvre and to control its reception”. Thomas instead made blurry boundaries between artist and collector, making statements like “readymades belong to everyone” and showed, “without cynicism, with a cold anger, the effects of capitalism on our ideas and our bodies” elegantly and quietly.
Bernadette Corporation, Emily Segal of trend forecasting group, K-hole and New York’s DIS collective, who presented Image Lifeat PNI back in February, share common agencies in their work which looks at culture within the production and visualisation of culture itself. The narrative of art is their art.
Although there is no additional information on what will occur amongst Thomas’ works, surely the gesture of the interventions will address how to approach a practice and a hole like this one.
L’air du temps (French for ‘the current trend’) is an immersive video installation that consists a “roving shot across a recently purchased and renovated hotel particulier in Paris”, probing the tenuous relationships and potential symbiosis of “comingling colonial forces” in a series of digital interventions and interactions that are “mutualistic or antagonistic in nature”.
New York collective DIS will present Image Life, opening at London’s Project Native Informant, opening February 22 and running to April 2.
There is very little information provided to accompany the show other than an image posted of a girl lying on a sofa in an apartment with the city behind windows, behind her. It looks like she’s day-dreaming and there is an object similar to a router floating above her head.
Under the image of the girl in the apartment Project Native Informant have posted Pantone’s 2016 colour of the year(rose quartz and serenity)YouTube video.
Rather than replacing something, Condo is a proposal in order to support the (art) community, promoting younger galleries through the networked London art scene. Its participants, which count with the support of some big institutional names, aim to highlight the fact that it is necessary to support one another in order to survive and succeed in the contemporary art ecosystem.
Like at any art fair, similarities between artists and works are mere coincidences, and while there is no thematic or aesthetic pattern to follow by the participant galleries, some analogies can be drawn.
Some of Cetera’s works were left after her solo show at Southard Reid and seamlessly brought together with the works of artists Bruno Zhu and Tessa Lynch for Condo.The artist’s practice turns around the anthropomorphisation of pets and the circulation of domestic animal imagery through the internet. In her installation ‘Mirrored Gourd Triptych’(2015), a glazed porcelain pumpkin-like vegetable ‘watches’ a three screen TV, while sitting on a fake fur carpet. The edible is a gourd: a sort of calabash often used in asian cuisine that Cetera recurrently includes in her work. The TVs show a series of Youtube videos about people’s pets getting miscellaneous care treatments, as if they were people.
Inher installation ‘Just Enough Violence’ (2016)at Arcadia Missa, Collings-James develops an almost mythological imagery out of water-colors depicting cats and horses. They coalesce with A.L. Steiner’s Greatest Hits exhibition: a collection juxtaposed photographs and videos of pop culture figures, such as Madonna or Boychild. Here, animal and human bodies merge and colonise the gallery walls and windows.
AtThe Sunday Painter, Jala Wahid’s ‘Soft Weaponry III’(2016) looks like two plaster bird talons coming out of the wall, near ‘Coco’: a sculpture shaped like two livers on top of a rosewater glycerin pedestal. The artist’s works are surrounded by an arte povera-looking landscape consisting of pieces by Rob Chavasse, Ana Mazzei and Debora Bolsoni.
At Rodeo, Iranian born artists Ramin and Rokni Haerizadeh, along withRahmanian, present But a storm is blowing from paradise (2014-15), a series watercolours and collages, where identity is erased and eventually transformed into rabbits and other animals. It’s these crafty and DIY practices that seem to have taken over more sovereign formats and immaculate presentations. Small-scale works on fragile paper nailed on walls, or pieces of ceramics spread out over the place repeatedly emerge, whether it’s in Laura Aldridge’s coloured brick wall at The Sunday Painter, Cetera’s take away coffee pot tops at Southard Reid or in Ulrike Müller’s square painted tiles hung on the Rodeo wall. Multiple layers of watery pigment and more experimental materials such as dye, enamel or DIY jewellery take over the surface ofTom Humphreys’‘untitled’ (2015), Jeanette Mundt‘s painting series ‘Me as Patricia Arquette As the Femme Fatale’ (2015), Josh Kolbo‘s constructed photographs and Nicholas Cheveldave’smultilayered works, covered by friendship bracelet webs.
Meanwhile, Carlos/Ishikawa literally cut the space in three parts, in order to host its representative galleries: Essex Street, Matthew and Freymond Gruth. They reserve the hall for a sort of pop-up store where they sell “artists clothes”. Among other great commissions, including Puppies Puppies, Darja Bajagic and Stewart Middleton –Ed Fornieles’ virtual alter ego of a humanised cartoon fox wrapped by contemporary anxiety is brought to the physical world in the form of a disguise.
According to an interview with Vanessa Carlos, the art world is “a microcosm of the world at large”. That’s why she hopes the Condo initiative will be taken as a model by other cities and countries in promoting collaborative work that is beneficial to the art community and the people working within it. **
Founded by Fabrizio Ballabio, Alessandro Bava, Luis Ortega Govela and Octave Perrault, the collective got its former name during the XIV Architecture Biennale in Venice, when it exhibited in apartments rented through AirBnB. The name change comes under legal pressure from the apartment rental company and in 2015, the collective opted for a new name and, with it, a new show.
Newcomers is a push back of sorts, using what Philipp Ekardtcalls “architecturally informed digital rendering and imaging techniques” to create “a new sort of depth”.
It’s the first solo show in years for the Montreal-born, Berlin-based artist—and he hasn’t done a group one in even longer. It’ll be interesting to see what Ceccaldi brings out after his hiatus, especially since past shows included exhibitions like his demon-invoking Summoning solo show at Johan Berggren Gallery.