Over 60 spaces from across the world have been invited to exhibit by this year’s selection committee, which include curators Willy Katz andAttilia Fattori Franchini.
The fair’s 2016 public programme has now been announced, titled: ‘Open Call’. Instead of working towards a theme and asking for response, ‘Open Call’ – a little like the organisers of concurrent event, Transmediale/ conversationpiece decision to run it around discussions and no concrete theme – asks participants of the fair to offer work around the work, conversations around the booths.
Taking place around the fair itself is a show by Korakrit Arunanondchai, also at Lodos, Index Art Book Fair at Museo Jumex, and Garrett Nelson’s Cruising Objects of Agency at Museo de la Ciudad de Querétaro, which we’ve reviewed here.
Nottingham-based One Thoresby Street is launching Sunscreen’s collection with 40 online works by 40 artists exhibiting outside the internet for the first time on August 27.
Sunscreenis an online project conceived by artist and One Thoresby Street co-founderCandice Jacobs. For the launch, the project joins forces with the artist-led complex of galleries, project spaces and artist studios, as well as its partner, the East Mindlands collective EM15.
Mexico City’s darkarts.international is bringing a group show to its space this weekend, titled Under a Thawing Lake and running from February 4 to 8.
The show runs simultaneously with Mexico City’s Material Art Fair 2015, celebrating its second season, and, not surprisingly, there’s quite a bit of overlap in the list of participating artists between the two shows. Dora Budor is included in the list, alongside Nico Colón with whom she is exhibiting at the fair with Paris’s New Galerie.
Relationships are complicated. There are few systems that make this more abundantly clear than the fragmented minefiled of the internet, probably best expressed through the multi-pronged programme surrounding London’s Project/Number. Led by artist and curator Chris Rawcliffe, the gallery commissioned and launched several of its serial numbers, P/N/21, L/B/16 and I/P/1 (as in an IRL show, a lightbox installation and an inaugural online exhibition) on September 26, along with an editions launch of works by the likes of Clunie Reid, Mat Jenner, Yuri Pattison and Benedict Drew on October 5 and an Art Licks Weekend collaboration with Lawrence Lek.
It’s telling that these all launched at once. That’s especially when Candice Jacobs‘ INHALE (as in P/N/21) is adding to the dominant art discourse of the day against the ‘always on’ culture of work-as-play in a post-Fordist economy. It’s introductory blurb flatly states, “Do you think you can manage to spin one more plate? The trouble is, the more you have to keep an eye on, the less time you have to sit and wonder whether you really need to be keeping an eye on quite so much.”
So here we are looking at a series of photos, gifs and video that generate an overwhelming sense of too much information, coming from too many angles as it bleeds and blends across platforms to become a mass of images and ideas. They make sense in one way but can be garbled into abstraction in another if you don’t take the time to absorb it. Firstly, there’s Jacob’s INHALE in the Project/Number gallery space featuring vinyl palm tree backgrounds and au courant neon light brands replicated in the marble-patterned boxes of tealight candles for sale as part of the Editions series. It’s the first of two exhibitions, one which ran September 26 to October 19 in London, the second aptly-titled EXHALE to come at Liverpool’s Cactus later on this year. Both come accompanied by a website that simply glows white while mimicking the motion of steady breathing.
At the same time Nicolas Deshayes‘ lightbox commission (L/B/16) of giant squid sculptures squashed against a glowing white screen welcomes its audience while Tristan Stevens‘ #happybirthdayniall gif series (I/P/1) features an anxious loop of the kind of ride that doesn’t end. There’s a view of clouds within a frame within a frame, moving ever forward without ever coming closer in ‘flip’ (2014). The ubiquitous loading animation of YouTube’s spiralling circular dots turn endlessly where Deshayes’ lightbox should be in a gif of a video of a CGI rendering of the Project/Number gallery. That’s from a still from Lawrence Lek’s Sky Line series, commissioned for the White Building during Art Licks Weekend, but including a virtual tour of Stevens’ gifs – plus waterfalls and palm trees – produced as part of a virtual video map of London’s art production landscape, trailing along the notion of “infinite access” and a virtual rendering of the city’s underground Circle Line.
It’s here, when watching what Rawcliffe calls “the automated loop that tricks us into thinking we need to watch this more” that one wonders what’s the actual point of it all? Because as platform hierarchies flatten into interdisciplinarity, and structures disperse into outscourced labour, the outcome appears to be a lawless interior of the Rawcliffe-defined “world wide west”, where nothing is finished and everyone’s still working. Hence, the most pertinent question of Jacob’s INHALE press piece: “How are you getting along with your current juggling act?”. **
Following last week’s eight-hour PAMI & artist Josephine Callaghan’s Sleeping Upright website takeovers, online exhibition Golden Sunrise –named after a corporate party cruise ship -will tour to Nottingham on September 26. Each artist will transfer the online into the (semi-)IRL by commandeering a screen each at Antenna Media Centre‘s cafe bar for the launch of Candice Jacobs’ Pleasure Voyage solo exhibition at SYSON.
Inspired by the gendered “nowhere voyages” of these feminised leisure spaces, Golden Sunrise features artists Laura Aldrige, Gabriele Beveridge, Kitty Clark, Mel Nguyen and Zoe Williams, as well as Jacobs and Callaghan, and will loop back to the online domain by becoming available to view on the Sleeping Upright website until November 23.
Nottingham-based artist and recipient of October Standpoint Residency, Candice Jacobs will present her solo exhibition Pleasure Voyage at Nottingham’s new SYSON Gallery, running September 26 to November 23.
Exploring ideas of a gendered paradise, Jacobs takes the show title from the cruise voyages that blur the lines between leisure and labour, class and capital, within a femininised nowhere-space of the female-named ships and their ‘travelling hospitality suites’, emblematic of her preoccupation with meaningless aspiration and corporate value systems. The exhibition will look at the role of gender across work and play, escape and Capitalism, across film, performance and installation while coming accompanied by this calming blurb to meditate over the “scalloped bikinis” and “Ibiza Chill Out albums”:
“Relax… sit back… take care that you can be as comfortable as possible so that it’s easy for you to let go of the events of the day. I will accompany you, offering ideas and suggestions. There is nothing you need to do. The more relaxed you become, the more powerful your experience will be. Allow yourself to grow soft, supple, and relax. You can lavish in abundance right now, just imagine it. You can create prosperity in an easy and relaxed manner. Just relax. Release a sigh of relief… a big deep sigh of relief that you might feel at the end of a long hard day… that’s it. Indulge in that beautiful feeling of total and utter relief, just imagine it spreading all over your body. Melt. Just let it go. Expand your sense of self and radiate your power out into the world. Open up so you can be seen, valued and appreciated. Imagine… this is… your new… reality.”