Josh Kline’s first solo show in New York, Dignity and Self Respect at 47
Canal , welcomed its viewers to the residual shock of the present, in a
culture fueled by energy drinks, reality television, LED lighting, and
the virtual Internet world that increasingly infringes upon daily
existence. As an artist, curator, and collaborator, Kline’s practice
often transcends the physical art object to pinpoint the nature of labor
and productivity in a climate of posthuman conditions.
Vanaf 10 feb a.s. als duo met Martijn Hendriks in W139 en daarna vanaf 15 feb. in SYB Beetsterzwaag. Artist Matthew Lutz-Kinoy collaborated with producer SOPHIE and
triple-threat Chelsea Culp at the New Museum in September. The result?
Paint on the dance floor, and an inescapable harmony that you can’t help
but whistle to. Lees het interview HIER .
DLD 2012 / Ways Beyond the Internet. Cory Arcangel, Nik Kosmas, Daniel Keller, Ed Fornieles, Oliver Laric,
Jon Nash, Rafael Rozendaal, Karen Archey, Moderated by: Hans Ulrich
Obrist. via: AIDS-3D
The story about the liquid added to public pools that turns urine into
an obvious blue color –mapping the perpetrator’s bodily fluids as far as
they drift– is actually an urban myth used to deter people from the
thought of peeing in pools. It is, however, a decent way to begin
thinking about Ben Schumacher’s art. The drift of images and objects
through the internet is a process silently contested, and many of
Schumacher’s projects aim to destabilize or re-identify the seemingly
normalized flow of digital information as it takes place in social
networks. Schumacher has likened his efforts to re-acquaint the online
audience with their viewing context in a way parallel to Brancusi’s
interest in bringing attention to the pedestals on which his sculptures
sat. For an artist whose practice tends toward the disclosure of
unforeseen linkages, this historical referent is definitely fitting.
Matt Hinkley applies his distinct, highly refined hand renderings to
materials including newspapers, graph paper and found objects. The
meticulous yet subtle nature of his work promotes at once a quiet
solitude and sense of chaos. Referencing 60s Op Art and the working
methods of artists such as John Nixon, Hinkley constructs his works on
paper with reverence to the qualities of his materials. Patterns and
compositions are minimised and exploded, inspired by the characteristics
of his paper stocks and found imagery. A recent transition to the
production of 3D work has extended this sense of craftsmanship further
through a series of intricate plaster impressions. (via theBlackmail and Vvork)
Light and water – that is, sun and earth – play a strange and subversive
duet in Pamela Rosenkranz’ exhibition at the Venice branch of the
Istituto Svizzero di Roma. If both solar and aquatic energies are often
prefigured in the clichés of positive thinking – ‘life-giving’,
‘life-affirming’ etc. – the Zurich-based artist dispenses with this
familiar mythology and takes a darker, more skeptical stance. Her show,
titled ‘Our Sun’, explores our closest star as a metaphor for the ‘empty
center of ideology’, as the artist puts it, while rising and polluted
waters speak for their own destruction. Using the city of Venice’s
singular characteristics – water and heat, vast cultural holdings, ruin,
past political and religious power – Rosencranz explores the
relationship of culture to environment, with an emphasis on the sun as a
symbol for a kind of emptying, estranged power: creative, destructive,
personal and political.
Terence Gower’s latest video, New Utopias, is a lecture
filmed in the style of a 1950s Walt Disney documentary. Among the
utopias under analysis are Parliament/Funkadelic’s 1974 Mothership Connection tour in which George Clinton proposes to improve the world by bringing us The Funk from outer space; The Rocky Horror Picture Show, where a society promotes uninhibited sexual behavior; and the world of Jacques Demy’s Les Demoiselles de Rochefort,
an aesthetic utopia of beautiful artists who are perpetually falling in
love. Zie VIDEO hier.
What is the prime significance of Piotr Łakomy’s actions? To observe that anyone can be an artist and all can become art would be an oversimplification in his context. This is not solely the question of a gesture, where an artist’s anointment, like a magic wand, transforms nothing into something and converts non-art into art. It seems that the artist is after a far more important thing – he wishes to trace the sources of human creativity.
Łakomy accepts as his material objects that we can often come across in urban landscape. These are most often makeshift and spontaneously created barriers, obstacles (fences, railings), unauthorised parking places, etc. Set up intentionally, with a specific function in mind, they frequently assume fancy forms and amaze us, reflecting the constructional (constructivist) imagination of their authors. This annexation of space within shared space, an isolation from the latter of a space that functions as a separate, limited one, has much to do with the situation of a gallery exhibition, where it is the will of the artist that separates the exceptional from the common.
Brian Bress’ photographs and videos are full of odd characters, and
anachronistic objects. Vestiges of familiar narratives are everywhere,
but are made strange through recombination. He performs each step of
production, both behind and in front of the camera. This singularity of
sensibility has uneasy moments for viewers accustomed to the
overproduced standards of television and commercials. Bress’ movies
distinguish themselves by employing Brechtian devices at expense of the
auteur rather than the audience. In his videos the high holy efforts of
early performance and conceptual art are recast to exploit the comedic
desires of a YouTube public.
Calla Henkel en Max Pitegoff; Een Amerikaans geboren en getogen maar in Berlijn wonend kunstenaarskoppel, zijn naast hun eigen praktijk ook de oprichters van een van de beste initiatieven/bar's van Berlijn: Times.
Edgard Varêse & Le Corbusier / Poême électronique 1958
“Poème électronique” (Electronic Poem) was composed in 1958 by Edgard
Varèse, the father of electronic music, and Iannis Xénakis, one of the
most important modernist composers of the 20th century, under the
direction of Le Corbusier, one of the most important architects of the
20th century. This recording is only an approximation of the true nature of the
event from 1958, as it has none of the integral spatial effects that
were created for the Philips Pavilion structure.
