March 11 – July 16, 2017
Even as the shift to digitized images, virtual reality, and social media has been said to herald its obsolescence, paper nonetheless remains inescapable in our daily lives. Accessible to all, paper endures as the site of notes, lists, price tags, reminders, sketches, ads – at once the most mundane and the most intimate of communication media, and the most readily discarded. As concerns about humanity’s impact on the environment intensify, paper is also one of the most persistent reminders of our connections to nature through the cyclical nature of its creation, disposal, and regeneration through recycling. Derived largely from plant fibers, paper also ages and degrades, its fragility inspiring metaphorical associations with human corporeality and vulnerability. The artists in Paper into Sculpture—Noriko Ambe, Marco Maggi, Joshua Neustein, Nancy Rubins, and Franz West— play on tensions between commonly held understandings of sculpture and what paper can and cannot do, pushed to its physical limits. Treating paper as a material with a palpable three-dimensional presence rather than as a mere support for mark-making, they use processes ranging from tearing, crumpling, and cutting to scattering, binding, and adhering to create sculptural works that take a variety of forms, with a varied range of expressive and conceptual implications.
During the opening of the exhibition on March 11th, there will be a panel discussion with the artists. For more information, please visit the Nasher Museum of Art website.
Selected text from a feature by R.C. Baker of The Village Voice
"Adolf Hitler revered the realism of ancient Greece and the Renaissance as the highest standard of art. But, like with so much else in his life, he knew even better what he hated: modernism. Hitler's favorite painter, Adolf Ziegler, exemplified the stilted, ersatz classicism that marked the art of the Third Reich. He also presided over the Nazis' "Degenerate Art" exhibitions, and it is to this able pasticheur of mannerist-inspired nudes and color-coordinated drapery that the artist Martí Cormand has metaphorically addressed a series of painted and drawn postcards. Cormand was partly inspired by the discovery of several expressionist and cubist sculptures unearthed in Berlin in 2010 by workers digging a new subway station. It's not clear how these eleven pieces came to be interred in layers of World War II rubble, but Cormand has based one series of paintings and drawings on a particular sculpture, Portrait of Actress Anni Mewes, a bronze head topped by a smooth carapace of hair (c. 1920, by Edwin Scharff). One painted version captures the scabby green blotches that covered the oxidized relic when it was rescued from the earth; a graphite drawing conveys the dark sleekness of the original surface. In other variations the face is blurred, as if being reborn: In one, it is a featureless emerald bust, while in another the eyes, lips, and nose are smeared like half-modeled clay, hinting at the process of casting bronze. In this last variant, Cormand (who was born in Barcelona in 1970 and now lives in Brooklyn) echoes the breakneck brushwork of Francis Bacon, who insisted on painting the human body even as the majority of postwar artists — believing that the social-realist propaganda of World War II had sullied figurative art — were moving to abstraction. Cormand works on both sides of that divide in the "Anni Mewes" series, in one piece abstracting the sculpture into a lushly painted blob, as if swaddled for transport from its unceremonious grave to the daylight above."
To read the full story, please see the PDF below.
On view May 27 - July 16, 2016
Richard Booth's Bookshop, Lion Street, Hay on Wye, HR3 5AA
Meadow Arts is curating an exhibition by leading artists on the book in art at Richard Booth's iconic secondhand bookshop, opening for the launch of this year's Festival.
Many influential artists have made work that uses the book as an object, questioning its function and form, often rendering it unreadable; what is a book that can't be read?
The works in this exhibition range from the poignant to the celebratory. Harland Miller's playful re-mastering of the classic Penguin cover offers a Pop Art, sardonic and sometimes nostalgic take on literary themes, as does Michael Craig-Martin's deceptively simple 'Untitled (book)', which succinctly embodies the universal understanding of book-ness. Four vitrines by Anselm Kiefer reference the history of ideas, recalling Archimedes' discoveries with geometry. Jonathan Callan bends, cuts and wraps books so they become sculptural forms; here he creates an enthralling site specific reimagining of his large installation, Idiot Compression. Rachel Whiteread is a master in the art of showing the reverse, the ghost of objects large and small. Here a row of black books glow mysteriously, like shadows on a black shelf.
Curator Anne de Charmant says 'For me it is a great testament to the continued power of the printed, versus the digital, word, that so many artists still see the book as an incredibly potent symbol, not just to be revered, but questioned and endlessly explored. This exhibition is an eye- opener from that point of view.'
Explode Every Day: An Inquiry into the Phenomena of Wonder
Opening May 28, 2016
NORTH ADAMS, MASSACHUSETTS – Visitors will stand in rapt awe when MASS MoCA launches the exhibition Explode Every Day: An Inquiry into the Phenomena of Wonder on May 28, 2016.
Over twenty artists exhibit works, including Jonathan Allen, Jen Bervin, Lucien Castaing-Taylor and Véréna Paravel, Jason de Haan, Tristan Duke, Sharon Ellis, Tom Friedman, Christopher Gausby, Hope Ginsburg, Laurent Grasso, Pierre Huyghe, The Institute for Figuring, Nina Katchadourian, Michael Light, Charles Lindsay, Megan and Murray McMillan, Ryan and Trevor Oakes, Demetrius Oliver, Julianne Swartz, Chris Taylor, and Fred Tomaselli.
As exhibition curator Denise Markonish remarks, “the state of wonder agitates, mesmerizes, and is almost forcible and shocking. It is a sudden intake of breath, a gaping mouth, a relinquishing of understanding.” As commonly used, “wonder” is sometimes mistaken for curiosity, which centers on the practice of fact-finding and explanation. In this show, viewers experience a purer state of wonder, a liminal state of being poised between knowing and not knowing, and defined by an experience of something truly new.
Co-organized by MASS MoCA’s Markonish and Columbus, Ohio-based artist Sean Foley, Explode Every Day was inspired by a course that Foley taught at Ohio State University, and a long-running discourse between the two. The title for the exhibition was inspired by the writer Ray Bradbury, who often spoke of the need to retain a sense of wonder throughout one’s life. He wrote, “You remain invested in your inner child by exploding every day. You don’t worry about the future, you don’t worry about the past – you just explode.” Markonish’s previous group shows at MASS MoCA include the one-two punch of Badlands: New Horizons in Landscape, These Days: Elegies for Modern Times, and Oh, Canada, about which the New York Times noted her “fanatical dedication.”
Harnessing the concept of wonder for an exhibition, the show will feature both existing and new works by twenty-one international artists, each touching on certain facets of wonder, including: the perceptual/ visionary, the technological/scientific, the philosophical/meditative, time/cosmos, and illusion/fear.
Accompanying the exhibition will be a comprehensive catalogue that will for the first time gather contributors from diverse fields to investigate this elusive topic and unite them through contemporary art.
Space to Dream: Recent Art from South America
From May 7 to September 18, 2016
From Saturday 7 May, experience the inspirational and imaginative exhibition, Space to Dream: Recent Art from South America.
Opening a window to the influential art of six South American countries from the 1960s to today, Space to Dreamis the first comprehensive exhibition of its kind to be generated in Australasia.
The exhibition conveys the sense of South America as a place of vitality, constant change and possibility. It reveals the ways art has offered a space for its people to reflect, act and dream throughout the region’s politically and socially turbulent history
From March 5 to May 29, 2016.
Each term, Museum of Contemporary Art Tokyo (MOT) selects about 100 artworks from its some 4,800-piece collection for display in its permanent exhibition--the "MOT Collection." In this way, MOT seeks to offer a wide range of perspectives on postwar and contemporary art.This term, "Collection Ongoing" places a particular focus on Pop Art and works on paper in conjunction with special exhibits of newly acquired works.
I Need to Tell You Something:
The Lost Art of Letter Writing and Communication Today
February 26-May 6, 2016
Opening January 2016, Marco Maggi features in the twelfth edition of the East Wing Biennial, Artificial Realities.
Artificial Realities is an exhibition of contemporary artworks that address the realm of uncertainty which exists between reality and falsehood. It assembles works into thematic microcosms, themselves dispatched into different rooms as well as transitional spaces. Each space is inhabited by a selection of works specifically chosen to disorient the understanding of established truths and expand the notion of reality into a zone of indetermination. With photographs depicting colourful foam explosions in nebulous – yet real – natural environments (Filippo Minelli), repetitious excavations marking their perennial presence over the Courtauld walls (Alan Chandler), doors leading to nowhere (Yonatan Vinitsky) and papier-mâché suspensions performing as the fisheye perception of a fabricated city (Marco Maggi) among fifty other works, Artificial Realities takes on the challenge of representing what is both familiar and unfamiliar, often materialising the poetry which exists between these two mental spaces.
The setting of the exhibition, within the North Wing of Somerset House, acts to emphasise the exhibition’s concept. The use of non-purpose built exhibition spaces including halls, staircases, and niches suggests that space is here a signifier of movement, flux, and liminality.
Collaborators and exhibitors include: Adrian Fisk, Jacob Hashimoto, Fillipo Minelli, Ignacio Valdes,Rebecca Ward, Clive Barker, Samuel Levack and Jennifer Lewandowski, Jenny Holzer, Katie Paterson, Tegen Williams and Raf Felner, Tracey Emin,Antony Gormley, Chris Kenny, Rachel Whiteread, Falcone, Daniel Buren, Jacob Hashimoto, Oliver Schwarzwald, Edmund de Waal, Gabriel Kuri,Megan Geckler, Elpida Hadzi-Vasileva, Marco Maggi, Amina Benbouchta,Leon Krige, Anastasia Brozler for Creative Perfumers, Alan Chandler, Gilles Retsin and Helen Howard, Samuel Gough-Yates, Emmanuelle Leblanc, Pau Marinello, Gordon Matta-Clark, Irene Montemurro, Yonatan Vinitsky, Laure Provost, Paul Hawdon, Paula Subercaseaux, and Jim Lambie.
Arróniz Contemporary Art
Plaza Rio de Janeiro, 53 bp Col. Rome
Mexico City, DIF
Kader Attia, Francis Alÿs, Darío Escobar, Alberto Baraya, Albano Afonso, Matías Duville, Patrick Hamilton, Carlos Garaicoa, Cinthia Marcelle and Tiago Mata Machado, Moris, Pedro Alonso & Hugo Palmarola, Sandra Cinto and Santiago Sierra. Curated by Pamela Pardo.
Rua Vergueiro, 1000 – Liberdade
January 24 - March 29, 2015
To admirers of Argentine artist León Ferrari's intensive, hands-on drawings, prints, sculptures, and collages, this show of small photographs of his sculptures taken in his studio must have been something of a surprise. Sharp, shiny, black-and-white analog pictures, they render the art they capture quite theatrical in a film-noir sense, imbuing the images a kind of sexiness and aura of mystery.
The 23 unique abstract and semi-abstract vintage gelatin-silver prints that were on view here, from the 1970s and 1980s, established interior relationships among the intersecting black shadows and white channels of emptiness, suggesting tensions and reconciliations. Ultimately, the photos, as if mimicking Ferrari's drawings by employing the lens as stylus, offered both less and more to meet the eye, describing rather than sharing the intimacy of hands-on work.
Ferrari (1920-2013), known internationally for his social and political critiques, is probably better known in the United States for his compulsive, calligraphic drawings and for his sculptures composed of intertwining iron rods. Like Brazilian modernist artist Mira Schendel, Ferrari made works in which writing and drawing are two sides of the same coin, and where drawn lines serve as codes and symbols on the one hand and as expressive marks on the other.
BARBARA A. MACADAM