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Events + Exhibitions, Feb 23 – Mar 1

24 February 2015

The Ryan Trecartin and Lauren Cornell-curated 2015 Triennial, called Sound Audience starts at the New Museum in New York this week, with the majority of events and exhibitions elsewhere opening within a few days of each other.

Two double exhibitions are opening across London, including one from KERNEL, Sasha Litvintseva and Lewis Teague Wright at Union Pacific, as well as Olivia Erlanger solo at Seventeen Gallery alongside a group show curated by Attilia Fattori Franchini and including Emanuel Röhss, Debora Delmar Corp, AIRBNB Pavilion, plus more.

Also in the UK capital, artist-run space Rye Lane Studios is closing with an RSVP event, while LEAP in Berlin is doing that same. Elsewhere in Europe, Amalia Ulman will be delivering a lecture in Helsinki, Neïl Beloufa is opening an exhibition at Zero in Milan and Clémence de la Tour du Pin‘s Hotel Palenque commission is happening in Frankfurt.

Desktop Residency and Opening Times are hosting new works online, while Sonic Acts 2015 in Amsterdam features performances by M.E.S.H., Vessel and TCF. Slavs and Tatars, Monira Al Qadiri and GCC have exhibitions opening across two galleries in the UAE.

There’s more so see below:

EVENTS

Milo Brennan @ Desktop Residency, Feb 23 – Mar 14

Speculative Writing @ Tenderbooks, Feb 24

2015 Triennial @ New Museum, Feb 25 – May 24

Joey Holder + Steven Ounanian @ Enclave, Feb 25

Luke Nunn @ split/fountain, Feb 25

Amalia Ulman lecture @ Exhibition Laboratory, Feb 25

Beau Rice @ Printed Matter, Feb 26

Sonic Acts Festival opening @ Stedelijk, Feb 26

Extreme Animals, Haribo &c @ Secret Project Robot Art Experiment, Feb 26

Sonic Acts Festival @ OT301, Feb 26

POLYVALENZ @ Kunstquartier Bethanien, Feb 27

NIGHT CLUBBING @ BRIXTON, Feb 27

Jason Bailer Losh @ Anat Ebgi, Feb 27 – Apr 4

Bare Life & Bio-politics in Kennington Park @ DKUK Salon, Feb 27

KRAUTROCK KARAOKE Vol.17 @ Café OTO, Feb 27

Future Brown @ Creamcake, Feb 28

Who is a ‘People?’ @ Goldsmiths, Feb 28

Rye Lane Studios closing party, Feb 28

LEAP closing party, Feb 28

Accented @ Maraya Art Centre, Mar 1 – May 16

OPENINGS

Kate Morrell + LTV @ Kendal Museum, Feb – Jun

Katharina Fengler @ Relaax.in, Feb 23

Hassan Hajjaj @ Newark Museum, Feb 25 – Aug 9

Anne de Boer @ Lunch Bytes, Feb 25

Neïl Beloufa @ Zero, Feb 26

Life Gallery @ Space, Feb 26 – Mar 15

Sean Raspet @ Société, Feb 26

Tiril Hasselknippe @ DREI, Feb 26 – Mar 28

Kimmo Modig @ Sorbus-galleria, Feb 26 – Mar 8

Labour in a Single Shot @ HKW, Feb 26 – Apr 6

Massimo Grimaldi @ 63rd – 77th STEPS, Feb 27 – Mar 25

Olivia Erlanger + Morphing Overnight @ Seventeen Gallery, Feb 27 – Apr 18

Ruler
@ SIC Gallery, Feb 27 – Mar 15

Josh Bailer Losh @ Anat Ebgi, Feb 27 – Apr 4

Taslima Ahmed @ Real Fine Arts, Feb 28 – Mar 29

Slavs and Tatars @ NYUAD, Feb 28 – Mar 31

KERNEL + What We Name, We Can Contain @ Union Pacific, Feb 28 – Mar 28

Sex Shop @ Transition Gallery, Feb 28 – Mar 29

Antoine Donzeaud @ Mon Chéri, Feb 28 – Apr 11

Clémence de la Tour du Pin @ Frankfurt Am Main, Mar 1 **

See here for exhibitions opening last week.

Header image: Katharina Fengler, ‘Cosmic Feces of Mercy’ (2015) @ Relaax.in.

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One step ahead moving backwards @ LEAP reviewed

24 November 2014

Time and how it manifests in art is a key theme of a 14-page, print-only written exchange between curatorial project km temporaer‘s Elisa R. Linn and Lenart Wolff and curator Hicham Khalidi. It forms the basis of the One step ahead moving backward group exhibition held at Berlin’s LEAP, running October 31 to November 22 and features solo and collaborative works from 12 contributors, including Andreas Greiner, Armin Keplinger, Wolfgang Laib and Paolo Thorsen-Nagel among others. The outcome is an eclectic exhibition of art and artist ideas made up of disparate, at times conflicting elements that somehow coagulate under the notions of contemporary artwork as gesture, curation as process and communication as value.

Outlines of human figures and drawings of organs cover thin fabric, half stretched and hanging from the ceiling in Mariechen Danz‘s ‘Tower Vessel Tooth, Book B / Book C’ (2013). It explores information transmission through a combination of Mesoamerican art and contemporary technical language in drawing and print, while another sculpture, ‘Modular Glyphic System’ (2013) – made in collaboration with Genghis Khan Fabrication Co. –  resembles a PC computer case of thin metal that can be taken apart and recombined into other forms.

'One step ahead moving backwards' (2014) installation view. Photo by Ivo Gretener. Courtesy LEAP, Berlin.
One step ahead moving backwards (2014) installation view. Photo by Ivo Gretener. Courtesy LEAP, Berlin.

In the background the grafitti inspired wall painting overlaid with a video projection is Kerstin Brätsh and Debo Eilers‘ collaborative project KAYA + n.o.madski. It’s an installation using a certain ‘street’ vernacular more visible in the public rather than private space, yet dominates a LEAP gallery wall in ‘untitled – rewind’ (2014). Meanwhile, a zoom-out in scale presents Adriana Ramić‘s text-based work ‘The Return Trip is Never the Same (After Trajets de Fourmis et Retours au Nid, M. Victor Cornetz, 1910)’ (2014) across three touch screens. Recently shown as part of the Never cargo terminal… exhibition at LA’s Smart Objects in July and based on French civil engineer Victor Cornetz’s studies of insect movements, the work follows an ant pathway across multilingual translations and crowd-sourced dictionaries using an Android Swype. Navigating through their pages, the audience follows their nonsensical logic via colourful abstract lines that are the sequential index of keyboard gestures.

Language and its interpretations and barriers is again explored via Brian Jungen and Duane Linklater‘s ‘Modest Livelihood’ (2012), as the two artists of British Colombian ethnolinguistic heritage screen a hunting trip with Jungen’s uncle within the bounds of a First Nation territory since restricted to within “moderate livelihood”. Tina Kohlmann‘s own reinterpretations of ethnological artefacts are realised in her brightly coloured textile installation named after the inuit sea mammal specialty ‘Mattak’ (2014), while Fabio Marco Pirovino‘s ‘Drawing (Scribble) VIII’ (2014) presents abstract drawings using its eponymous digital ‘Scribble Pen’ that allows its user to scan colour in the ‘real’ world and transfer it to a tablet or mobile device and thus a virtual one.

'One step ahead moving backwards' (2014) installation view. Photo by Ivo Gretener. Courtesy LEAP, Berlin.
One step ahead moving backwards (2014) installation view. Photo by Ivo Gretener. Courtesy LEAP, Berlin.

Documenting the performance of holding a bubble-level tool straight while jumping out of a plane to the tune of ‘Theremin Queen’ Dorit Chrysler‘s cover of The Beach Boys’ ‘Good Vibrations’ is ‘Untitled (Leveling a spirit level in free fall feat. Dorit Chrysler’s BBGV dub)‘ (2009). It’s a video work by João Onofre examining the relationship between physical performance and cinematography, screened from a TV and propped in a corner, while Luca Pozzi‘s curved ‘Wall String #8’ (2013) crosses the art and science divide most succinctly, where pieces of diamond plate aluminium is curved into organic shapes that are poetically ended by balls that stretch out and almost touch each other. All the while Tiril Hasselknippe’s series of five flat sculptures are spread out in ’29 Palms’. Working with nature, the forms are made of thin synthetic material and earth becoming hybrid islands that dot the suspended non-space of a neutral-grey gallery floor. **

One step ahead moving backwards group exhibition was on at Berlin’s LEAP, running October 31 to November 22, 2014.

Header image: ‘One step ahead moving backwards’ (2014) installation view. Photo by Ivo Gretener. Courtesy LEAP, Berlin.

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