Jessica Diamond

Skins @ Ellis King, Nov 11- Dec 17

10 November 2016

The Skins group exhibition is on at Dublin’s Ellis King gallery, opening November 11 and running to December 17.

There is little information as to the nature of show but it does bring a typically interesting selection of seventeen artists, including Anne Imhof, Katja Novitskova, Lali Foster, Jacky Connolly, Anina Troesch, Zoe Williams and more.

Nominated for this year’s Nam June Paik Award, Novitskova is known for working with digital cutouts, sculptures, and installations, exploring humanity’s relation to the image, techonology and nature, while Imhof recently presented a spectacular three-part performance series called Angst in Basel, Montreal and Berlin’s Hamburger Bahnhof, which aqnb reviewed here.    

See the Ellis King website for (limited) details.**

Franziska Aigner and Josh Johnson in Anne Imhof’s 'Angst II', (2016). Performance documentation. Courtesy the artist + Hamburger Bahnhof Berlin. Photo: Nadine Fraczkowski
Franziska Aigner and Josh Johnson in Anne Imhof’s ‘Angst II’, (2016). Performance documentation. Photo by Nadine Fraczkowski. Courtesy the artist + Hamburger Bahnhof, Berlin. 
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Golden Eggs @ Team Gallery, Jun 23 – Aug 5

22 June 2016

The Golden Eggs group exhibition is on at New York’s Team Gallery, opening June 23 and running to August 5.

Organised by Alissa Bennett, and featuring contributions from the likes Christine Brache, Chivas Clem, Jessica Diamond and Bjarne Melgaard among others, the exhibition takes its title from Karl Marx’s Das Kapital where he describes the progenerative potential of capital in the value acquired through “the occult quality of being able to add value to itself. It brings forth living offspring, or, at the least, lays golden eggs.”

In applying this principle to the contemporary (art) market, the works presented respond or engage with the capitalist phenomenon of endowing certain objects with the power to “autonomously generate revenue, rendering them self-contained units of profit production”, where they would otherwise have no intrinsic or functional value.

Selected artists —which include Alex Bag, Gardar Eide Einarsson, Hans Haacke, Barbara Kruger, John Miller and Banks Violette —engage with what the press release calls “a caustic antipathy towards contemporary capitalism” and its tendency towards exploitation, suppression and manipulation, “to commodify creativity and extinguish individualism.”

See the Team Gallery website for details.**

Cristine Brache, 'Nothing But Violence' (2016). Courtesy the artist + Team Gallery, New York.
Cristine Brache, ‘Nothing But Violence’ (2016). Courtesy the artist + Team Gallery, New York.

Header image: John Miller, ‘Mannequin Lover’ (2002). Courtesy the artist.

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Eye Sweeteners

18 April 2012

“The impact of television on contemporary culture” is what the latest exhibition at the Institute of Contemporary Arts aims to represent. A wide-themed and ambitious project, timed to fit in with the UK’s digital switchover, Remote Control dissects the many faces of a seemingly familiar, domestic object.

Harun Farocki & Andrei Ujica, 'Videograms of a Revolution' (1992) Courtesy the artist and Greene Naftali Gallery, New York.
Harun Farocki & Andrei Ujica, 'Videograms of a Revolution' (1992) Courtesy the artist and Greene Naftali Gallery, New York.

The top floor could be nicknamed ‘truth-mongering’. Photographs by Taryn Simon, Martha Rosler and Richard Hamilton present television as a powerful tool for journalists, capturing images of protests and war brought right to your sofa. ‘Cornered’ by Adrian Piper is perhaps the most artful of the truth-mongering pieces. She talks straight to the camera, flanked by two copies of her father’s birth certificate, one indicating that he is white, the other octoroon (1/8th black). This isn’t a piece of journalism, but rather a very personal deconstruction of racial identity.  ICA Bookshop Assistant Michael Crowe says he finds Piper the most interesting in the exhibition, not only because she was an early user of television as a medium for art, but also because the piece is “very confrontational, which is not something you find in TV programs ordinarily”. Continue reading Eye Sweeteners

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