Appearing + reappearing in Emilie Pitoiset’s The Vanishing Lady window display at KLEMM’S, Mar 11 – Apr 22
9 March 2017
EmiliePitoiset is presenting solo exhibition The Vanishing Lady at Berlin’s KLEMM’S, opening March 11 and running to April 22.
The Paris-based artist works across media to create ‘uncanny scenarios’ and ‘surrealist visuals’ that play a part in an ongoing narrative unfolding through a series of exhibitions and fictional characters. For this show, Pitoiset’s work will revolve around author of The Wizard of Oz Frank Lyman’s “most famous magic trick & window-display.”
“A model of bones and flesh is appearing and reappearing with constantly renewed outfits in a window’s display. Bound. Generate disruption, displacements and attract the eyes, push the on-looker to look again. Look again. Window-dresser is an art, not a fallacious art.”
Curated by Ashley Stull Meyers, the solo exhibition presents new sculptural work and ‘image-inducing poetics’ to explore the boundaries between language and objects. With a focus on surface and texture, the Portland-based writer, performance artist and dramaturg works across disciplines such as text, installation, sound and textiles to consider ways to “retain, resist, and recondition” the artifact.
The show is part of a larger series that invites guest curators to put on exhibitions at the space over the forthcoming year.
Curated by Studio resident Estela Oliva, the event will look at the relationship between London and Berlin nightlife and is part of a larger series that explores “the state of London’s nightlife and its influence in pushing the boundaries of culture.”
Manipulation + contradiction in Yuri Pattison’s Citizens of Nowhere at Kevin Space, Mar 10 – Apr 23
8 March 2017
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.”
Brave new artists in a brave new world for New Material: living in a new material world at A.P.T. Gallery, Mar 9 – Apr 2
6 March 2017
The NewMaterial: living in a newmaterialworld group exhibition is on at London’s A.P.T. Gallery, opening March 9 and running to April 2.
Curated by Tyler Mallison, the show “seeks to address the shift in the ‘materialworld’ from the Gen-X perspective of the mid 1980s; a time of pensive self-awareness and anxiety, to our current newmaterialworld; one of 21st century post-truth Trumpist politics and Brexit Britain”.
Scintillating syntax + chasing the cheese in Rhys Coren’s Whistle Bump Super Strut at Seventeen, Mar 9 – Apr 15
6 March 2017
Rhys Coren is presenting solo exhibition Whistle Bump Super Strut at London’s Seventeen, opening March 9 and running to April 15.
For his first solo exhibition at the gallery, Coren will present a series of painted panels, the themes of which might be elaborated by the following excerpt of a text called ‘Titles,’ visually shaped in a curve and drawing on descriptions of embarrassment and a reference to 80s soft-rock singer-songwriter Carly Simon’s song Why.
“Red-faced with embarrassment. Cheeky, cheeky. Naughty, sneaky. Last night changed it all (I really had a ball). Always have somebody chasing somebody else. I don’t want to get over (the sweetest hangover). “Scintillating syntax,” soothed the solo on the synth sax. Mischievousness made magical may make modesty more malleable. Carly Simon’s Why, followed by Carly Simon’s Why, followed by Carly Simon’s Why (again).”
The London-based artist works across “animation, writing, performance and painted marquetry; each media displaying an obvious pleasure in rhythm, rhyme, form, colour, space and negative space.”
Objects, people and place in Sue Tompkins + Matthew Damhave’s Don’t be far from me at Tenderbooks, Mar 7 – Apr 8
6 March 2017
Sue Tompkins + Matthew Damhave are presenting Don‘t be far from me at London’s Tenderbooks, opening March 7 and running to April 8.
Curated by Caroline Stevenson with the art publication space, the exhibition and month-long residency “celebrates the connections these artists make between objects, people and place”.
The event will kick off with a performance by Glasgow-based artist Tompkins on the opening night, whose work is closely “absorbed with language.” Often sifting through song lyrics and fragments of speech, her work extends and animates into performance. NYC-based artist and designer Damhave, meanwhile, works in painting, zines and textiles, engaging in a process of bricolage.
Both artists will come together to explore “bookshop as a site” and will also be producing an artist’s book during the residency.
Quantum leaps in reality + the art market at the Visual Worlds Collide symposium at Basel’s HeK, Mar 3
3 March 2017
The Visual Worlds Collide symposium is on at Basel’s HeK (House of Electronic Arts Basel) on March 3.
Do they change established models of presentation and transmission of art? Is the art world on the verge of a quantum leap?
A variety of events dedicated to virtual experience and its influence on our perception of art is programmed, including a workshop by media artist Jörg Brinkmann, an exhibition by Tina Sauerländer, and a talk on Beta Manifest by Karoline Pfeiffer and Thea Dymke. There will also be a symposium, Visual Worlds Collide – Potentials and Impacts of Virtual Reality on the Art Market,looking at the way virtual exhibition spaces “open up new forms of encounter, exchange, global networking.”
Moderated by Kristian Jarmuschek and Eleonora Frolov, speakers will include HeK director Sabine Himmelsbach, DialogData IT-expert Thomas Mödl, galerist Priska Pasquer, Digital Art History Prof. Hubertus Kohle and Prof. Dr. Cheryce von Xylander.
For its fifth edition the companion event to NY Art Book Fair invites over 250 international presses, booksellers, artists’ merchandise distributors, antiquarians, and independent publishers into its space.
There will be an opening night preview at Geffen with special musical performances by Seth Bogart and Kembra Pfahler & Christian Music from The Voluptuous Horror of Karen Black, as well as a keynote address by artist, General Idea co-founder and past Printed Matter director AA Bronson called ‘MY LIFE IN BOOKS.‘
An exhibition of art, issues and other miscellany by the late Teen Angel — the Lowrider artist and writer behind Teen Angels Magazine focusing on life in the streets of the Varrios of California and the Southwest — will be on show, including unpublished, never before-seen original pieces of artwork.
Temporal narratives + the annals of Western art in Quayola’s Fragments at bitforms, Feb 25 – Apr 9
23 February 2017
Quayola is presenting solo exhibition Fragments at New York’s bitforms gallery, opening February 25 and running to April 9.
Quayola‘s process “begins in the annals of Western art” where historical themes and technological apparatus are located and synthesized. The show will be a series of sculptures called ‘Laocoön Fragments’ and based on the Hellenistic sculpture ‘Laocoön and His Sons‘.
Quayola, originally from Rome, explores the “grandeur and decay of ancient sculptures and Renaissance masterpieces that he encountered at an early age,” and the fluidity of temporal narratives.
A selection of Miami’s brightest and most innovative stories from emerging filmmakers have been nominated by a jury, for the five-day schedule, running February 22 to 26, packed with idiosyncratic events. Those include a screening of the 1995 blockbuster film, Waterworld – literally on the water – informative panels with film industry professionals, and a performance by Trina and Poorgrrrl on top of a bank vault. There’ll be a special screening of the Grammy-nominated film, filmed and set in Miami, Moonlight, as well as the flagship ‘Borscht Shorts’ screening of specially-commissioned short films made in, for, or about Miami by local and guest filmmakers at the Olympia Theater on February 25.
The Borscht Corp goal of challenging “stereotypically insipid depictions of Miami in the mainstream media” is a strong one, and is becoming more and more evident through programme initiatives such as this one. The aim is to “articulate the voices of the New Miami and its idiosyncratic culture, providing a global stage for underrepresented (often female, Latin American, African- American, and Afro-Caribbean) identities in film.”
In the lead up to the 10th Borscht Corp Film Festival, co-founder Mayer took some time out to share her thoughts via email on the BC agenda, including #NOBROZONE, programme highlights, and Hollywood.
** This year the festival launched #NOBROZONE, could you talk a little bit about this initiative, your experience working with a female-led panel and filmmakers, and if it is a permanent edition to future festivals?
Jillian Mayer: We wanted to do something different to support female filmmakers, and we realized that even when the filmmakers are women, a lot of the gatekeepers and financial backers in the industry are still men. It’s important to feel a sense of comfort and community when you’re putting yourself out there as an artist, and we wanted to create a safe space for women to express themselves freely, and to even get a little weird. We’re really happy with the work we’re already seeing come out of the program, and we’d obviously love to keep it going.
** What are some of the highlights of this year’s program? Are there any events that you are particularly excited about?
JM: We’re opening with an actual wake and Viking funeral for our past work. We will be torching and saying goodbye to some of our earlier work by setting hard drives on fire and watching them melt.
Later in the program, we’re having a ‘Coral Orgy,’ with a live performance by Animal Collective and sexy marine projections mapped onto Frank Gehry’s New World Center. As for more traditional film-centered events, our newest crop of Borscht Shorts is screening on Saturday, and we’re also doing a ‘career retrospective’ of New York-based filmmaker John Wilson‘s insanely creative (so much so that it’s literally illegal) nonfiction work.
** The Grammy-nominated feature film Moonlight has garnered widespread international acclaim and began as a Borscht project. Could you talk a bit about its evolution, what it was like to work with the director, and future prospects with other Borscht related productions?
JM: We wanted to encourage filmmakers with connections to Miami to come down here and make interesting work, and Barry [Jenkins] was someone we really wanted to support. He made a short with us, ‘Chlorophyll’ in 2011, and his trust in Borscht was really important for us at that time, when we weren’t super-established yet. We introduced him to Tarell McCraney (another Miami native who wrote the screenplay for Moonlight) and it evolved from there. It’s been incredible to see how well the film has been received, and it’s already done so much to bring awareness to the real Miami we’ve been trying to spotlight in our projects.
** Is there anyone in the film industry outside or within Borscht that you think people need to know more about?
JM: Everything we are playing at our festival. Check out our program, it’s them.**
How to be being is part of larger series of shows of the same name on studio practice, which opened January 12 and is also running until April 8. In addition, Clarke is also exhibiting solo show This Happened To Me, which also opens on February 23 and runs to April 8.
The show will also present a performative lecture alongside, which will take place on the opening night at 7:15 and “discuss the stories of radical women from three different times, over a period of six hundred years.” In addition, there will be a film element that follows characters who were all residents of the now-named Borough of Tower Hamlets.
Exploring precarity and resistance related to ideas of labour and gender, the lecture and exhibition looks at these ideas through the lens of a capitalist structure relating to the global textile industry, and will be experimenting with non-linear narrative.
The anxiety-inducing architectures of physical + psychological boundaries at Concrete Jungle at Annka Kultys, , Feb 21 – Mar 18
20 February 2017
The Concrete Jungle exhibition is on at London’s Annka Kultys, opening February 21 and running to March 18.
Curated by Alexandra White, the show features video works by Copenhagen-based Brazilian video artist Tamar Guimarães and performance artists Michelle Williams Gamaker and Julia Kouneski. They explore “the physical and psychological boundaries between the human and architectural body within the specific context of Brazil.”
Concrete Jungle is rooted in dichotomy, between the natural and manmade, reality and fantasy. Here, Gamaker and Kouneski will present a performative video work described as ‘anxiety-inducing’ and Guimarães’ will present 16-mm film ‘Canoas’.
V-A-C launches its new Moscow headquarters with the Geometry of Now sound art project, Feb 20 – 27
20 February 2017
V-A-C is launching its future home at Moscow’s GES-2 with the Geometry of Now project, opening February 20 and running to February 27.
The V-A-C foundation is dedicated to the “international presentation, production and development of Russian contemporary art” and will be opening a new headquarters at the former power station. Built in 1907, the building sits along the banks of the Moskva River, and will be revived and re-constructed to house new interventions by artists.
White ppl think I’m radical at Arcadia Missa opens Feb 17
16 February 2017
The White ppl think I’m radical exhibition at London’s Arcadia Missa opens February 17 and runs until April 29.
The show will “approach the problems, possibilities, and violences of portraiture and representation” in a two-person show by Los-Angeles based artist, writer and curator Aria Dean and Australian-based Somali artist Hamishi Farah.
The show will feature paintings by Farah in which he paints himself, and sculptural and digital work by Dean. Both works circle around a “shared search for what is (un)representable and how (not) to represent it.”
Accompanying the event is a text by Muhry who analyses the “longing, desire, obsession, and the projections resulting therefrom” that make up the basis of the exhibition. Looking at ephemerality, vulnerability and intimacy, the artists explore what it is to yearn, both physically, as an act of production, and mentally.