The Norwegian artist Fredrik Værslev (*1979, lives in Drammen/No) has impressed the art public with his extensive painterly practice that is both precisely planned as well as on the lookout for coincidence. He exposes his works to the weather, for example, hangs canvases on a tree for months or integrates the painting styles of colleagues, offering them wooden panels to paint on. His paintings exemplify conceptual strategies that question painting processes but also preserve the beauty of the works. Vaersley is showing new pieces of art at Kunst Halle Sankt Gallen: the artist cuts up previously worked canvases and meticulously sews them together again, experimenting with forms, colour combinations and picture media as well as exhibition possibilities. The result is a surprisingly painterly installation between abstraction and the haptic reality of materials in which canvases take on the dynamics of a sailing regatta.
The title of the exhibition, Electronic Superhighway, comes from a term invented in 1974 by South Korean videoart artist Nam June Paik who realized the potential of global connections through technology. Ordered in reverse chronological order, Electronic Superhighway begins with works created at the turn of the millennium and ends with Experiments in Art and Technology (EAT), a landmark event of 1966. Spanning a period of 50 years, from 2016 to 1966, moments arise in the history of art and the Internet as the exhibition travels backwards.
In an exhibition filling two floors in the Museum, 28 Swedish and international artists explore and challenge Öyvind Fahlström’s ideas on manipulation and theatricality. Four historic works by Fahlström define the playing field for the exhibition, which takes place in three zones: the main exhibition hall on Floor 4, the spaces connecting both floors, and the exhibition halls on the lower ground floor.
We Just Fit, You and I is a group exhibition that probes the boundaries between bodies and architecture. Featuring Michelle Lopez, Sondra Perry, Pamela Rosenkranz, and Michael E. Smith, each artist looks to contemporary technology, unexpected material behavior, and architecture as primary means by which to re-articulate the human form.
Joining the Getty and the arts organizations across the region for Pacific Standard Time: LA/LA, a far-reaching and ambitious exploration of Latin American art in dialogue with Los Angeles, the Marciano Art Foundation welcomes the opportunity to highlight Latin American artists in the Marciano Collection, reinforcing the Foundation’s focus on revealing an active global dialogue and drawing connections amongst a diverse group of international and Los Angeles-based artists.
(@mined_oud) – which may or may not be the artist’s email address backwards, creates an absurd type of synaesthesia between an oriental plant (oud or agarwood), the allusion to exhausted mine seams and the apparent creation of a potential palindrome – is the title of the first solo show to be held in an Italian public institution (opening: Friday, October the 13th, 2017, 7pm) by the artist Darren Bader (Bridgeport, CT 1978), one of the most experimental international artists of recent generations.
This series surveys the last decade’s films by artist Kevin Jerome Everson, paying particular attention to representations of labour and performativity within his practice. Everson’s approach to filmmaking draws in framing techniques from his work in street photography and an emphasis on materiality and process from his work in sculpture. Within this formalist framework, his films seek out the poetics of everyday tasks and gestures of Black working class communities dispersed across the United States.
The artist Marc Camille Chaimowicz who lives and works in London, began combining sculptures and performance in the 1970s and has worked between the categorical boundaries of “private” and “public.” His work is part of the tradition of art after the “social turn,” when art moved from the picture on the wall into social reality and its space. His work is characterized by the combination of different media such as sculpture, painting, drawing, and photography with elements from applied art and interior design.
Gluck50 is pleased to present Spectacle, an exhibition of work by American artist Jamie Isenstein created both in residence at Gluck50 and at her studio in Brooklyn, New York. The word spectacle has two meanings in English that fall on opposite sides of the subject/object relationship. In one sense the word refers to a showy performance and in the other sense it is another word for eyeglasses. The first meaning demands to be watched, while the second meaning does the watching. For her exhibition at Gluck50, Isenstein plays on this double meaning to confuse subjects and objects by turning bodies into objects and objects into bodies. In doing this, Isenstein hopes to flip the power dynamic inherent in the subject/object relationship as a way to imagine giving agency and autonomy to the less powerful.
This exhibition is the result of Witte de With director Defne Ayas’ pairing of two critically engaged artists, Goshka Macuga and Ahmet Öğüt. Both artists’ interests are tied to political and historical contexts, distilled through a variety of media and strategies of representation that include performance, participatory event, sculpture, film, and installation. Both artists examine each other’s practices, a process subject to misinformation and misunderstandings along the way, as much as a generosity of ideas, commitment of time, and peer-to-peer play.
The exhibition loosely continues with the Prague City Gallery’s successful project Unsettled Figure. Expression in Czech Sculpture 1880–1914, which was acknowledged as “The Group Exhibition of the Year 2016”. Medium: Figure is the curator’s selection of works by contemporary Czech and Slovak artists either directly pursuing the subject of figure or employing it otherwise in order to express their creative standpoint.
Michael E. Smith (1977, Detroit, USA) assembles and manipulates this found material in an unusual way. He isolates objects, makes changes to their form and seeks out the limits of their imaginative power. His presentations are characterized by an intense yet sparse choreography of the exhibition space. Accordingly, they manifest themselves as site-responsive artworks exploiting all of the museum’s infrastructure. Smith’s work seems to avoid any form of sublimation. His predilection for the absurd and for an indefinable tension ensue from a broader critical view of the ecological, economic and social challenges facing our society. This exhibition presents new, in situ created work.
How To Live Together explores the conditions and prospects of living together in terms of individual and social dimensions. Key factors of this survey exhibition not only include dynamics and shifts at the political and economic level, but also changing social relations. The works of more than thirty international artists from different generations are based on personal experience and, at the same time, point to changing relations between the private and the political, between stagnant and accelerating contemporary circumstances, reality, and utopian ideals. The diverse models of living together presented, reveal how society is more than just the sum of its individuals.