Nora Berman and Bernhard Hegglin are presenting parallel solo exhibitions at Dublin’s Ellis King, opening June 9 and running July 16.
Although there is no information provided with either show, Berman, who was involved in one of Ellis King’s recent shows, Dead Among the Deadhas titled her’s Charm, responsive perhaps to the LA-based artist’s past works that collect and assemble photos of people and their expressions with coverings of spray paint and blotchy watercolour frames.
Hegglin has recently shown with Carlos/Ishikawa where he printed on to the walls in group show Zurich & Elsewhere, ‘BMOML’ (Best Moment of My Life), and in Oslo’s 1875 space. The Swiss artist works minimally with everyday items and has titled his Ellis King show Bar de Ligne, which translates to sea bass.
From Discovery to Rediscovery is the titular theme of this year’s Art Brussels fair, which is on at the large former industrial building, Tours & Taxis, running April 22 – 24
This year the organisers have decreased the size of the fair by about 50 galleries, promising quality over quantity, and have opened up a strand titled ‘Rediscovery‘ —dedicated to art from the 20th century by artists who are either under-represented or have been forgotten about. In with the rediscovery will be the following, whose booths aqnb recommends to go and see if you are in the capital:
Ellis King have put on a string of large group shows that address the nature of exhibition organising in itself, like putting a plan of a Cathedral over the plan of the space and making new imaginary rooms, or hosting 32 works in show, Cookie Gate that all think about their own consumption.
Dead Among the Dead! comes with very little information and should be an interesting one, given its combination of artists and the opaque, lurking nature of what is holding their works all together.
Cookie Gate happened in Dublin’s Ellis King in July 2015 during a period in our making history where all information around an art work or its object is attached so loudly to it – where words around art are as redundant as they are needed. The work by the 32 artists, including Thea Govorchin, boychild and Kari Altmann addressed the moment of communication between art work and audience. By thinking about the structures of desire inherent in looking at adverts (and Facebook art show press releases, for example) the show, which ran 10 July – 15 August, aimed to dissect what the press release referred to as the ‘pre-engagement’ part of expression. Do artists second-guess what to make for an audience? Is this a passive movement between consumption and outwards communication or is it transparent? If it is transparent is this because its ‘about’ giving in to desire and working with this also as a mode of identity making as an artist? What are the materials and material objects that get caught up in all of this? Maybe you just want a cookie, and another, and another.
The press release reads: “Corporations, brand names, and images become rituals, obsessions, and diversions. Consumption is made all but too easy”.
Amalia Ulman showed ‘Safety Net’ (2014) out of turquoise thongs attached together and spread across a garage door. The work is a weak safety net and possibly acts a little bit like desire does. Another piece that holds form and shape with tension was Dublin-based Fiona Hallinan’s ‘Pendants’ (2015). These are a group of necklaces made from objects the artist found while walking around and are pinned to the wall beautifully in diamond forms, as though on display in a jewellers with a black matte background and well lit. Gina Folly’s ‘Life’ (2014) and ‘Untitled (2015) are two tiny wax ears resting on the surface of a pillow, half-embedded; half-listening out. One ear was made last year and the other this year. You are slowly hearing and consuming more (everything) -that is all you are doing in Folly’s piece. Kari Altmann presents what looks like a portrait and upright miniature trampoline called ’Stretch, Flex and Extend’ (2015). Attached to the silver frame by bungees is an image of a cream or some pills with the word ‘extend’ on the front and a plant coming out of the top, shrouded in a cloud of mystic visible pink aroma. Altman’s piece is transparent.
There are two works with faces with wide smiles and white teeth with braces. One is ‘Rigged V1’ (2015) by Auto-Italia‘s Kate Cooper and displays all at once an open mouth, a grimacing mouth that can’t talk for its braces and bridges, and an example or perhaps an offering of dental perfection.
boychild’s ‘Patrick’ (unbound)’ and ‘wu (threshold)’ (both 2015) look like x-rays or an image that is trying to come through. They are haunting and minimal and un-clear. They are possibly the works that communicate the most about outwards communication:
“Sometimes we go shopping for bare necessities and sometimes we are looking for something to really really satisfy us”. **
Dublin’s Ellis King is bring artist Kari Altmann in for a new solo show titled Xomia (Return Home, Real Flow, All Terrain), running from March 27 to May 2.
The exhibition will be the first solo European one for the American artist, and is accompanied by an introduction by Harry Burke that begins: “To Start, You Doubt Whether Kari Altmann Is A Real Person.”
The artist’s website functions less as an archive of her work and more as, as Burke writes, “As A Portal To Live, Daily Updated Flows Which She Carves Through Different Strata Of Cultural Materials, Many Of Which She Also Produces Herself”.