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Displacement, traversal, revision + community for Lack of Location Is My Location showing artists living, working + teaching in Brooklyn

3 November 2017

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The Lack of Location Is My Location group exhibition is on at New York’s Koenig & Clinton, opening November 3 and running to January 7, 2018.

Featuring the work of artists living, working, and teaching near the Brooklyn gallery — including American Artist, Becca Albee, Eleana Antonaki, Kamrooz Aram and more — the show examines “various forms of displacement, traversal, revision, and community building that are made manifest in artwork today.”

The exhibition title is from a 1991 interview between critic Roberta Smith and artist Glenn Ligon, the latter of whom characterises the disjuncture between the ‘two worlds’ of his school and daily life in “lack of location is my location.” The show takes this idea further by applying it to a contemporary sociopolitical context.

Other artists include Alexandra Bell, Lisa Corinne Davis, Torkwase Dyson, Andrea Geyer, Nicole Miller, Aliza Nisenbaum, Dawit L. Petros, Xaviera Simmons and William Villalongo.

See the FB event page for details.**

American Artist, ‘AJ’s Dignity Image’ (2017). Courtesy the artist.

Foreign bodies: Corporate personhood + accountability within a contemporary consumer landscape for Corpus Alienum

3 November 2017

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The Corpus Alienum group exhibition is on at Los Angeles’ Hunter Shaw Fine Art, opening November 3 and running to December 1.

Featuring Hayden Dunham, Don Edler and Amanda Vincelli, the show examines “the relationship between corporate personhood and biological personhood in the contemporary consumer landscape.” Ideas of agency, biopower and consent are explored in relation to the corporate/consumer relationship, with the press release delving into the 19th century origins of the Supreme Court ruling giving the same 14th amendment rights to corporations as people.

The three artists will explore themes of ecological disaster and industrial byproduct, Paul B. Preciado‘s ‘Pharmacopornographic Era,’ gender fluidity and more, as applied to the definition of a corporation as “a group of people authorized to act as a single entity and recognized as such in law.”

See the Hunter Shaw Fine Art website for details.**

Hayden Dunham, ‘HROUGH’ (2017) Installation view. Courtesy the artists + ltd los angeles

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

2 November 2017

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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.

A planetarium of loss + grief: David Blandy sifts through the macro + micro of The End of the World at Seventeen, Nov 2 – Dec 16

1 November 2017

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David Blandy is presenting solo exhibition The End of the World at London’s Seventeen opening November 2 and running to December 16.

The show will present an installation of new photographs, digital collage and three films that explore “the artist’s relationship to technology and memory, speculating about Armageddon and a loss of connection to the server.”

Entering the space like a planetarium, the audience will float between geology, silicon chips, technology, and cosmic matter in a narrative that focuses on micro moments of personal grief as well as the macro and incomprehensible ‘end times’ such as genocide and climate change.

Visit the Seventeen website for details.**

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

1 November 2017

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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 Siva, SPAM 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.**

Between the aspiring + the art market: a conscious present of EARLY WORKS group show at New Galerie

31 October 2017

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The EARLY WORKS group show event at Paris’ New Galerie is on for one night only on November 2.

Curated by Elise By Olsen, the event focuses on the concept of early works/early stages in the careers of ten emerging artists, who are Adrian Hidalgo, Adriana Ramić, Dozie Kanu, Ethan Assouline, Maria Pasenau, Matias Kiil, Niklas Binzberger, Shana Sadeghi-Ray, Tabita Rezaire and Thor Tao Hansen.

The exhibition is an attempt to represent ‘a democratic, transparent and conscious present’ rather than through a nostalgic lens of an artists’ pre-success being one of naive, less formed or mature practice. Focusing on “the important period of transitioning from being an aspiring artist to fitting into the forces of the art market and its systems,” the show will bring together a number of disciplines and media, as well as an accompanying online interview series with the artists.

Visit the FB event page for details.**

Tabita Rezaire, ‘Peaceful Warrior’ (2015). Courtesy of UTTER Collective, Venice.

A virtual concept of partying: c a r e + Clusterduck at Panke.gallery + online for new digital art biennale The Wrong, Nov 1

31 October 2017

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The c a r e x Clusterduck collaborative event begins at Berlin’s Panke.gallery as well as a URL party here on November 1.

The 9th c a r e event is part of Panke gallery’s Internet Fame Embassy as well as The Wrong – New Digital Art Biennale; an online biennale that brings together “positive forward-thinking contemporary digital art to a wider audience worldwide.” c a r e defines itself as a ‘future sensation’ that is about sharing, being together and connecting with people worldwide through URL virtual parties.

The night will feature performances by Antonia XM, DJ Ruan – The Real Ruan, Ship Sket, Mara Oscar, S x m b r a b2b Shivo, Fatma Pneumonia, Yung Soft, and VJing from Suave.

Visit the FB event page for details.**

Now, How? presents ‘Full Spectrum Dominance’ screening + conversation at Berlin’s Decad, Oct 30

30 October 2017

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The ‘Full Spectrum Dominance’ film screening and discussion will take place at Berlin’s Decad on October 30.

The event is part of Decad’s Now, How? series (number two of four) that is organised by William Kherbek in collaboration with Decad’s lecture program. The evening will consist of a screening including films by Louis Henderson, Arjuna Neuman, Jaakko Pallasvuo, and Özgür Kar that look explore politics and representation, followed by a live-video in conversation with a “journalist who writes pseudonymously ” for a number of high profile magazines and publications.

The event seeks to open up a dialogue about crisis, the present moment and liberatory ideas for the future. Decad was founded in 2014 by artist Rachel Alliston and seeks to create a conversation between ‘contemporary art and critical discourse within the public sphere.’

Visit the Decad website for details.**

Defrag presents an in conversation with Werkflow + The White Pube at Somerset House Studios, Oct 31

30 October 2017

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Defrag presents The White Pube and Werkflow in conversation at London’s Somerset House Studios on October 31.

Defrag is a new event series curated by Jake Charles Rees in collaboration with Somerset House Studios that explores the role “technology plays in the development, production and consumption of art and culture.” The series will invite current Somerset residents as well as invited guests to discuss and unpick the contemporary human experience seeped in “confusion, control, creativity, appropriation and resilience.”

The first talk will be an in conversation between The White Pube (artist, critic and curator duo) and Werkflow, who are currently residents at the Studios where they will discuss the creation and consumption of art through the lens of social media and other commercial technologies.

Visit the FB event page for details.**

Sonic histories + black sociality: bart fitzgerald discusses music for the ‘Framing the Trap’ artist talk at Portland’s home school, Oct 27

26 October 2017

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home school is hosting artist talk ‘Framing the Trap: Postmodern Aesthetics, Themes and Theories from the Trap’ by bart fitzgerald at Portland’s Reed College Chapel on October 27.

Organised in collaboration with Cooley Gallery director Stephanie Synder, the event will also be live streamed as the artist/curator/writer and lecturer discusses his recent work and the relationship it has to trap music.

Looking at the genre’s “sonic histories, relation to the black church and spirituality, and postmodern aesthetic practices,” fitzgerald will frame and explore this tradition within his own practice, which looks at ‘black sociality, religion and queerness.’

Visit the FB event page for details.**

Wandering through the ‘path of progress’ in group show Our House of Common Weeds at RES, Oct 27 – Nov 24

26 October 2017

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The Our House of Common Weeds group exhibition is on at London’s Res, opening October 27 and running to November 24.

Curated by Nathalie Boobis, the show includes work by Verity Birt, Fourthland, Carl Gent, Anna FC Smith and Andrea Williamson. The opening night will feature a performance by Alys North and a DJ set by Bizarro World. The closing night will feature a performance by Carl Gent.

The exhibition is the culmination of a collaborative research project that has taken place over the last 18 months exploring “knowledge and ideas ravaged in the path of progress but still latent within stories, rituals, our bodies and the landscape.”

Visit the FB event page for details.**

Getting around copyright through cardboard: Merlin Carpenter’s Do Not Open Until 2081 at Simon Lee Gallery, Oct 26 – Nov 25

25 October 2017

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Merlin Carpenter presents solo exhibition Do Not Open Until 2081 at London’s Simon Lee Gallery opening October 26 and running to November 25.

The solo show is “an exhibition of wrapped paintings” which re-interprets work by painter John Hoyland (1934-2011). Permission was not granted for the project, so the works remain in layers of cardboard to skirt around the issue of copyright.

Drawn to his series for their engagement with large-scale US paintings, the cardboard wrappings become monochromes and readymades, “complete with packing tape and transport labels” and will also require anyone who purchases one to keep it wrapped until the year 2081.

Visit the FB event page for details.**

Merlin Carpenter, Poor Leatherette (2015). Installation view. Courtesy MD 72, Berlin.

Clémence de La Tour du Pin opens up a fortress for the first time since 1705 to explore fetish + impurity, Oct 26 -Nov 29

25 October 2017

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Clémence de La Tour du Pin is presenting solo exhibition sept préludes at Torino’s Pastiss Underground Fortress, opening October 26 and running to November 29.

Curated by Treti Galaxie in collaboration with Museo Pietro Micca, the work will be displayed underground in the tunnels and combat rooms of the old space. Described by La Tour du Pin as a “labyrinthine network of tunnels as intrauterine architecture, [comparable] to the unconscious side of the city of Torino – with its forgotten souls, desires and hidden phobias,” it will be open to the public for the first time since 1705.

Through a non-linear narrative tour that includes sensory and fictional elements to immerse the audience in a psychogeographical exploration, the artist will explore fetishism and the concept of shadows and impurities through the preservation of the space.

Visit the FB event page for details.**

Clemence de La Tour du Pin + Antoine Renard, ‘I am you, Jun. I’m all you’ll ever need’ (2015) Install view. Courtesy L’Atelier-ksr, Berlin.

Sifting through the terrain of illness + sound and healing in David Hoyle’s RESPONSE at Studio Voltaire, Oct 25

24 October 2017

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David Hoyle presents performance RESPONSE at London’s Studio Voltaire on October 25.

The cabaret/performance artist will perform a new work which responds to Putti’s Pudding (1989), a project and book by Cookie Mueller and Vittorio Scarpati who both died from AIDS related health problems, and David McDiarmid’s series of public text works Rainbow Aphorisms (1993-95) placed around London.

Creating a ‘beyond–verbal space,’ the performance will explore “the terrain of illness through healing, sound and ritual” to engage in the realities of body politics as they related to marginilsation and loss. The event is being described as a rare opportunity for the public to see Hoyle’s work first hand.

Visit the Studio Voltaire website for details.**

Cool For You + Pharmakon present a night of bodily warmth and violence in audiovisual performance at Studio 672

23 October 2017

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Sounds Wrong Feels Right presents solo performances by Cool For You and Pharmakon at Cologne’s Studio 672 on October 24.

Both artists, Cool For You (aka Vika Kirchenbauer) and Pharmakon (Margaret Chardiet) will present an audio-visual performance dealing with the body in ‘an extreme approach.’ Both producers explore boundaries and physicality, deconstructing sound and intimacy to access both a place of violence and warmth.

Cool For You recently released EP Mood Management via Creamcake, with an interview about the project on aqnb here. She has also recently released an essay Aesthetics of Exploitation: The Artist as Employer which can be read on her website.

Visit the Studio 672 website for details.**

Sweet air excreting all night in ‘Plastic Loaves Makes You…Spring’ at Melbourne’s The Substation, Oct 20

20 October 2017

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Plastic Loaves presents ‘Plastic Loaves Makes You…Spring’ at Melbourne’s The Substation on October 20.

The evening is is described as a space where “sweet air will excrete all night with a long stem of budding performers, vocals, sounds, visuals and alluring beverages, emerging from every gap” and features performances and contributions from András, Lucy Cliche, Matthew Brown, Nite Fleit, Magic Steven, Gian Manik, Ruby Jeppe, Beanies, Didvid.S, PractiseStudioPractise and Waterfall Person among others.

The Substation is a non-profit arts centre located in an old industrial building, with a curated program of residencies, exhibitions, events and more. Plastic Loaves works collaboratively to realise events, working in “Art direction, Graphic Design, Fashion, long distance running, orchids, rapping and making kimchi.”

Visit The Substation website for details.**

Picking apart family histories + the American South in Aria Dean’s Baby is a Cool Machine at American Medium, Oct 19 – Nov 25

19 October 2017

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Aria Dean is presenting solo exhibition Baby is a Cool Machine at New York’s American Medium, opening October 19 and running to November 25.

Picking apart both her own family history and the mythologies of the American South, the Los Angeles-based artist, writer and curator presents a new series of works that becomes “an interrogation of objects-for-themselves.”

In an accompanying text written by Hanna Girma, she poses the question, “How do you begin to unburden an object bound to nothing when you too are tethered to nothingness? No body. No history. No landscape. How do you release it from the clamor of its own form?” The exhibition is an exploration into these questions, and the complexities that entangle an art object and ‘blackness.’

Visit the American Medium website for details.**

Aria Dean, ‘Dead Zone (1)’ (2017). Detail. Photo by Elon Schoenholz. Courtesy the artist + Château Shatto, Los Angeles.

World banks + hidden zones in Manipulate the World – Connecting Öyvind Fahlström group show, Oct 19 – Jan 21

19 October 2017

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The Manipulate the World – Connecting Öyvind Fahlström group exhibition is on at Stockholm’s Moderna Museet, opening October 19 and running to January 21.

Curated by Fredrik Liew with Goldin + Senneby, the show includes work by 28 artists including Lawrence Abu Hamdan, Harun Farocki, Candice Lin, Jonas Staal, Hito Steyerl, Öyvind Fahlström, Sondra Perry and Pratchaya Phinthong, among others.

Over two floors of the large museum, works that both “explore and challenge Öyvind Fahlström’s ideas on manipulation and theatricality” will fill the space and be in conversation with each other. This also includes four pieces by Fahlström including a series of paintings Is the world a playing field? (1960’s), large installation The theatrical in motion (1964-66) video ‘Actions in public space between the levels’ (1966) and large sculpture ‘World Bank as the centre of a hidden zone’ (1971).

Visit the Moderna Museet website for details.**

Öyvind Fahlström, ‘World Bank’ (1971) Installation view. courtesy the artist + Sidney Janis Gallery, New York.

How to transmit without giving everything away: Krzysztof Honowski’s multitude if voices in Walking Through Clear Water

19 October 2017

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Krzysztof Honowski is presenting solo exhibition Walking Through Clear Water at Academy of Media Arts in Cologne, opening October 19 and running to October 22.

The installation, which the artist describes as a sequel to the performance ‘A Pool Painted Black,’ as well as being his Postgraduate Diploma show, will present a series of photo, sculpture and sound-based works. It will explore the intersection of heteroglossia and opacity, which he interprets as, “how to transmit and memorialise a multitude of voices, without giving everything away.”

Alongside the exhibition, there will be a lecture by Prof. Phil Collins on the opening night, as well as the release of Misunderstandings; Honowski’s first issue of new publication which includes contributions by Harold Offeh, Peter Cant, Melissa E. Logan, Clare Molloy, Mi You, and Felicita.

Visit the FB event page for details.**