Juliette Blightman

Artissima 2016 recommendations, Nov 3 – 6

31 October 2016

The Artissima international fair of contemporary art is taking place at various locations across Turin, running from November 3 to 6.

Now in its 23rd edition, the renowned project brings together 193 galleries from 34 countries, and is host to over 52,000 visitors. Directed by Sarah Cosulich, this year’s Main Section of the fair will be held at the Oval in the glass pavilion that was originally built for the 2006 Winter Olympic Games.

The fair is split into seven sections: The Main Section, which includes 105 carefully selected galleries, Back to the Future, focussing on the re-discovery of avant-garde works, Present Future, dedicated to emerging artists, Per4m, devoted exclusively to performance art, New Entries for emerging galleries, and Art Editions, which hosts limited prints and editions, as well as Dialogue, a section for specific commissioned projects.

Here are some of our recommendations:

Thomas Bayrle’s off-site project Flying Home

André Romão and Anna Franceschini @ Vera Cortes 

Cecile B. Evans for Barbara Seiler Galerie 

Juliette Blightman for Galerie Isabella Bortolozzi

Body by Body for Château Shatto

Laura Owens for Gavin Brown’s Enterprise

Group exhibition @ Brand New Gallery

Group exhibition @ Cabinet Gallery

Tim Etchells, Jamie Fitzpatrick @ Vitrine Gallery

See the Artissima website for the full programme.**


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Transparencies (2015-16) exhibition photos

23 May 2016

TRANSPARENCIES, a group exhibition curated by Simone Neuenschwander and Thomas Thiel at Bielefelder Kunstverein ran from November 7, 2015, to January 17, 2016. It examined the fundamental shifts occurring with the dawn of the digital age and the dilemma of its positive and negative impact.

Artists like Neïl Beloufa, Juliette Blightman, Ryan Gander, Calla Henkel Max Pitegoff, David HorvitzKatja Novitskova and Yuri Pattison took part in what would be a two part project taking place between the exhibition at Bielefeld and a symposium in Nuremberg and responds to the cultural facets of (non-)transparency in a globalized climate.

Metahaven @ Transparencies (2015-16). Installation view. Courtesy Kunstverein, Bielefeld.
Metahaven @ Transparencies (2015-16). Installation view. Courtesy Kunstverein, Bielefeld.

Dealing with the ambivalence of the term in diverse ways, the artists’ reflect on the idea of transparency and a shared sense of insecurity and doubt that comes along with the positive promise of limitless access to information and communication that modern life can offer us. The press releases describes the work as taking a “critical approach to post-privacy society” looking to algorithms, data-drives, and other modes of interpersonal exchange.

Using a family of logotypes that are used by corporations to create transparent products such as clear varnish, the graphic design studio Metahaven developed its own visual identity in the run up the exhibition. In addition, the show continued through a series of talks, workshops, a symposium as well as a project website (www.transparencies.de). There is fluid movement between subject matter and areas of investigation that relate to communication, contemporary history, economics, sociality and biology. However, an overall theme of presence and absence connects the conversation, with its strong focus on how our society handles knowledge.

The Transparencies project was also made into a comprehensive catalogue and publication that features texts by the curators as well as Emmanuel Alloa, Clare Birchall and Manfred Schneider launched at Motto Books on May 17.**

Exhibition photos, top right.

The TRANSPARENCIES group exhibition was on at Bielefelder Kunstverein, running November 7, 2015, to January 17, 2016.

Header image: David Horvitz @ Transparencies (2015-16). Install view. Courtesy Kunstverein, Bielefeld.

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