Rachel Rose

Okayama Art Summit 2016, Oct 9- Nov 27

10 October 2016

The new triennial art exhibition Okayama Art Summit will take place at various locations across Okayama, Japan opening on October 9 and running to November 27.

Directed by New York-based artist Liam Gillick, 31 artists have been chosen to respond to the theme of ‘Development’ featuring work by Katja Novitskova Rachel Rose Trisha Baga Rirkrit Tiravanija Motoyuki Shitamichi Ahmet Öğüt Simon Fujiwara Hannah Weinberger and Ryan Gander among many others.

Taking place within a city that is under constant and heavy urban development, Gillick’s chosen theme is fitting as well as multi-directional. Spanning ideas of architecture and capitalist progress to gaming and cinema, there is a freedom to play with the political, formal and ideological structures inherent in this word. The exhibition will provide a strata of examination, from looking back to looking forward, where artists “deploy modes of withdrawal and resistance in the face of the dominance of “ideas in development”.

Visit the Okayama Art Summit 2016 webpage for more details.**

Okayama Art Summit 2016, Promotional Image. Courtesy the Okayama art Summit organisation.
Okayama Art Summit 2016, Promotional Image. Courtesy the Okayama art Summit organisation.




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Rachel Rose @ Pilar Corrias, Sept 1 – 30

31 August 2016

Rachel Rose is presenting her first solo show Lake Valley at London’s Pilar Corrias, opening on September 2 and running to the 30.

The press release is left completely blank and devoid of any text, with only four image stills hinting at the work. A fitting way to contextualize her practice, Rose’s previous films move beyond words and reach somewhere deeper within our shared, multi-layered existence, taking unrelated subjects and events and working them into one narrative.

Recent solo exhibitions include Rachel Rose at The Aspen Art Museum (2015) in Aspen, Everything and More (2015) at The Whitney Museum of American Art in New York and Palisades (2015) with Jimmie Durham at the Serpentine Sackler Gallery in London.

See the Pilar Corrias website for details.**

Rachel Rose, 'Lake Valley' (2016). Film still. Courtesy of the artist + Pilar Corrias, London.
Rachel Rose, ‘Lake Valley’ (2016). Film still. Courtesy of the artist + Pilar Corrias, London.


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Frieze 2015 recommendations, Oct 14 – 17

12 October 2015

London’s Frieze Art Fair, running October 14 to 17, brings a new programming addition this year with the Reading Room, allowing visitors to browse and buy a curated selection of some of the best international art publications in a new space designed specifically for the programme by the Frieze architects.

A number of the publications participating at the Reading Room have put together a schedule of events for the fair featuring a group of artists, editors and contributors. They include a conversation with Rachel Rose (winner of the second Frieze Artist Award) and Laura McLean-Ferris, a panel discussion launching Kaleidoscope’s new ART&SEX issue, a temporary tattoo shop by George Henry Longly, Gabriele De Santis and Michael Manning and a conversation with LEAP editor-in-chief and curator of Art Post-Internet, Robin Peckham and artist Zhang Ding.

There’s the book launch of Patrick Staff‘s eponymous project The Foundation, Morgan Quaintance is among the speakers at ‘The End(s) of Post-Internet Art’, and artists Nicholas Hatfull and Holly White are presenting PRET DISCO.

As a response to increasing interest in live work, Frieze London had also launched its own Frieze Live section in 2014, creating a space in the fair for the exhibition and sale of active and performance-based works, and among the six galleries presenting live works this year is Amalia Ulman of Arcadia Missa

That’s just scratching the surface though, and here are some of our top Frieze 2015 recommendations for this week:


The Smart Home by ÅYR

Rachel Rose

The Social Life of the Book by castillo/corrales


Energy as Clickbait: Douglas Coupland in conversation with Emily Segal, Oct 14

Anicka Yi in conversation with Darian Leader, Oct 15

Bad. Planetary-scale. Delicious: Metahaven in conversation with Justin McGuirk, Oct 16

Off-Centre: Can Artists Still Afford to Live in London?, Oct 16


The fair also brings more exhibitors than is wise to recount (without separate links to the exhibitors on their exhibitor page) but some of the ones we are watching out for include: Allied Editions, as well as Antenna SpaceCarlos/Ishikawa, C L E A R I N GCroy Nielsen, The Breeder, Project Native Informant and The Sunday Painter.

See a more booth picks below:


303 Gallery, New York
The Approach, London
Laura Bartlett Gallery, London
The Breeder, Athens
Gavin Brown’s enterprise, New York
Buchholz, Berlin
Cabinet, London
Canada, New York
dépendance, Brussels
Hollybush Gardens, London
Ibid., London
MOT International, London
Peres Projects, Berlin
Galeria Plan B, Berlin
Rampa, Istanbul
Rodeo, London
Salon 94, New York
Sprüth Magers, Berlin
Standard (Oslo), Oslo
The Third Line, Dubai
Vilma Gold, London


47 Canal, New York
Antenna Space, Shanghai
Bureau, New York
Carlos/Ishikawa, London
Clearing, New York
Croy Nielsen, Berlin
Freedman Fitzpatrick, Los Angeles
Grey Noise, Dubai
High Art, Paris
Koppe Astner, Glasgow
Galerie Emanuel Layr, Vienna
Project Native Informant, London
Société, Berlin
Stereo, Warsaw
The Sunday Painter, London **

Header image: Rachel Rose, ‘A Minute Ago’ (2014). Video still. Courtesy the artist and Pilar Corrias, London.


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Jimmie Durham + Rachel Rose @ Serpentine Galleries, Oct 1 – Nov 8

28 September 2015

Serpentine Galleries opens two new exhibitions this week with Rachel Rose‘s Palisades and Jimmie Durham‘s Various Items and Complaints, both opening at the London space from October 1 to November 8.

Rose’s Palisades comes as the American artist’s first solo show in London. Following her 2015 Frieze Artist Award win, it responds directly to the London gallery with a site-specific installation composed of her two most recent videos—’A Minute Ago’ (2014) and ‘Palisades in Palisades’ (2014)—combined to create an immersive environment.

Running concurrently at the gallery is Various Items and Complaints, a major survey show of artist, activist, poet and writer Jimmie Durham. The exhibition highlights Durham’s varied practice, showing his sculpture works as well as his drawings, films and installations, combining new pieces with those created over his five-decade career and works never before exhibited in the UK.

See the exhibition pages of Palisades and Various Items and Complaints for details. **

Screen Shot 2015-09-28 at 7.30.46 AM

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Rachel Rose + Anna Zett @ Hackney Picturehouse, Mar 26

25 March 2015

The Serpentine Galleries is bringing a recent films by artists Rachel Rose and Anna Zett to London’s Hackney Picturehouse, March 26.

The double screening will show two recent works by New York-based artist Rose: A Minute Ago (8’43’’) gives a rhythmic juxtaposition of a calm sunny day interrupted by a violent storm, while Palisades in Palisades (9’27’’) uses a trompe-l’œil editing technique to a girl standing on the banks of the Hudson river to various moments throughout history.

Along with Rose’s works, the screening will show Zett’s most recent work, This Unwieldy Object, in which “the animated dinosaurs of blockbuster cinema meet the petrified ghosts of colonial history”. The films will be followed by a conversation with the artists.

See the screening event page for details. **


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The Great Acceleration @ Taipei Biennial, Sep 12 – Jan 4

12 September 2014
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Phantom Limbs (2014) @ Pilar Corrias exhibition photos

18 August 2014

Named after the neurological phenomenon of a body part, even organ, that’s missing or amputated but still felt in its absence, the Phantom Limbs group exhibition expressed a dearth in its abundance. Running at London’ s Pilar Corrias between June 27 and August 1, eight artists exploring “notions of consciousness” within a digitally mediated existence were presented across its two floors.

Ken Okiishi‘s ‘E.lliotT.: Children of the New Age’ (2004) presented a surreal look into a mediated suburban dead end via amateur aesthetics and the disembodied mumblings of its performers, featured in its own white box display just across from Charlotte Prodger‘s ‘Compression Fern Face (2014)’ installation. A Sony reference monitor displayed a 3D animation filtering human experience through found texts in the latter artist’s work, YouTube clips, 16mm film and spoken narratives presented as “two coded abstract symbols move in tension with each other” on the screens white, framed background.

Philippe Parreno‘s ‘Happy Ending, Stockholm, Paris, 1996, 1997’ (2014), one of ten transparent glass scultpures, stands near the gallery reception, as easily overlooked as when an earlier incarnation of the work mysteriously disappeared from a 1996 solo exhibition. Antoine Catala‘s ‘: )’ (2014) and ‘(::( )::) (bandaid)’ (2014) are emoticons made material and moving on a motor on the floor beneath ‘Storage’ (2014) – an image of a fridge with an impress of pot and pan in it – while Ian Cheng‘s live computer simulations, stood in a corner across, present basic algorithms acting as “DNA that seeds the generation of endless, mutating sequences of behaviours between objects and characters”.

Films by Rachel Rose and Cécile B. Evans, ‘Palisades in Palisades’ (2014) and ‘The Brightness’ (2013) appear in the darkened downstairs. The former is a 3D monitor featuring choreographed, rootless teeth and an interview with a Phantom Limb specialist, also called Cécile B. Evans, her speech consciously and self-reflexively out of sync with the movement of her mouth. The latter uses scripted, documentary and post-production processes to explore the major consequences of “images and data overflowing from the flat surfaces of the screen” across historical timelines, while Alisa Baremboym‘s ‘Leakage Industries: Clear Conduit’ (2012) – a sculptural construction of organic and synthesised materials converged and suspended from the ceiling – flows top-down but is constrained by its context as the materials list describes its product as “dimensions variable”.

From here, other works by the same artists intersperse the two floors across media, including the sculptural incarnation of the CGI of Evans’ ‘The Brigthness’ in ‘Lost, Teeth’ (2014) and Okiishi’s ‘Holding my arm/phone above the visual barrier to see it becoming a cyborg’ (2013 – 2014) inkjet print wallpaper confusing notions of space, materiality and authorship. Together they reveal a chilling examination of a language and experience in perpetual, ungraspable, motion. **

Exhibition photos, top-right.

Rachel Rose, ‘Palisades in Palisades'(2014) (excerpt) 

Phantom Limbs group exhibition ran at London’s Pilar Corrias from June 27 to August 1, 2014.

Header image: Phantom Limbs (2014) @ Pilar Corrias exhibition view. Courtesy the gallery.

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