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.'
Game On! from May 31 to September 4, 2016
Cynthia C. Wainwright Gallery
Children's Museum of the Arts is pleased to announce Game On!, an exhibition about our passion for sport and how it has defined our individual and collective identities. Throughout history, the world of games - with its inversions of mastery, dependence on chance and reliance on both verbal and physical play - has intrigued ans inspired visual artists. Game On! presents works by contemporary artists who take a reflective, critical or inspired look at sport and how we play the game. Addressing issues of identity, power, heroism, nostalgia, popular culture and gender, Game On! highlights a variety of media that reminds us that within every ruled system, there exists potential for creativity and exploration.
To attend the VIP reception kindly RSVP to firstname.lastname@example.org with your name and number of guests.
NADA New York
From May 5-May 8, 2016
Josée Bienvenu is pleased to present Postcards to AZ, a project by Spanish born, American artist Martí Cormand. In his new series of 7x5” oil paintings, the artist examines the relationship between fundamentalist intolerance and the silence of images. Adolf Ziegler, Hitler’s favorite German painter, was ordered by Reich Minister of Propaganda Joseph Goebbels to confiscate any art deemed “degenerate” from museums and collections.
In the course of this campaign, at least 21,000 art works produced by artists associated with Expressionism, Dadaism, Cubism, Fauvism, Surrealism and New Objectivity were removed from museums, sold abroad to earn foreign exchange or destroyed. The works of art were stored in a Berlin depot and the museums to which they belonged were subsequently expropriated by law in 1938. Individual works were sold by major Nazis, including Hitler, or were exchanged for “Old Masters.” According to official sources, as many as 1,004 paintings and 3,825 prints were burned in Berlin in March 1939. Some 125 works were auctioned off in Lucerne in the same year. Unlike the notorious “book burning” carried out by the Nazis, the destruction of the artworks was conducted out of the public eye.
Thousands of works were selected by Ziegler and seized including works by Pablo Picasso, Salvador Dalí, Max Ernst, Paul Klee, Fernand Léger and Joan Miró. Created between 1918 and 1930, bronze and ceramic works by Marg Moll, Emy Roeder, Edwin Scharff, Naum Slutzky, Karl Knappe, Gustav Heinrich Wolff, Otto Baum and Otto Freundlich also fell victim to the Nazi campaign.
During archaeological excavations carried out in advance of construction on a subway extension in Berlin in 2010, 11 masterpieces of early Modernism were unearthed. Since then, the works of art have been exhibited under the title “The Berlin Sculpture Find: ‘degenerate art’ in bomb rubble” in the Greek Courtyard of the New Museum on Berlin’s Museum Island.
Matthias Wemhoff, director of the Museum of Prehistory and Early History and regional archaeologist of the Berlin state administration, described the recent discovery in the national capital as unique. “Never before have artworks with such a background been found during an excavation,” Wemhoff said.
Cormand’s paintings exist as different iterations or quiet memories of those lost masterworks, challenging not only the notion of remembrance but also the materiality of history itself. Qualities of transparency, density, light, shadow, and extreme precision are applied to either bring the works to an articulate point of self-consciousness, or to make their subjects slowly fade toward oblivion.
Born in Barcelona in 1970, Martí Cormand lives and works in New York. He will have an upcoming solo exhibition at Josee Bienvenu Gallery in June, 2016. Selected exhibitions include: Martí Cormand, Galería Cayón, Madrid (2014); "Formalizing Their Concept” Galería Casado Santapau, Madrid, (2014); Formalizing their concept, Josée Bienvenu Gallery, NY (2013); Algo de esto, Jugada a 3 bandas (Ja3b), Galeria etHall, Barcelona (2013); False Documents and Other Illustrations, Portland Museum of Art, Portland, Maine (2010 - 2011); Arranz-Bravo Foundation, Hospitalet de Llobregat, Barcelona (2010); Galerie Lelong, New York (2010); Aldrich Emerging Artist Award Show, Aldrich Contemporary Art Museum, Ridgefield, CT (2007); Villa Arson, Nice (2006).
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.
The first solo exhibition in Venezuela Uruguayan artist Marco Maggi will be open to public space Monitor on Sunday 15 May 2016. Entitled Marco Maggi / Piano Piano , revelatory exhibition will consist of 17 works and a floor installation consisting of 50 pieces, all newly implemented and that this visual creator has created especially for the shed 1 Art Center the Sheds, home of Space Monitor.
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.