|May 24, 2006 Installation|
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Galerija Skuc, Ljubljana
Sislej Xhafa : Opportunistisch Naturalistisch
Adapting one's thinking to the given circumstances for one's own benefit, in short — opportunism, is the common denominator of the author's exhibition in the Skuc Gallery, which reflects the environment, i.e. space and time in which it appears. Thoughtlessness and greed of contemporary consumer society, which are spreading around the countries of the 'New Europe' like a virus, are, among other not exactly commendable attributes of the human kind, becoming virtues that can be easily applied to the current condition of our society and the local context. [...] The exhibited works are integrated into the physical space — the gallery, but also refer to the broader context in which the gallery is set.
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Studio Voltaire, London
Psittaciformes Trying to Change the World : A project by Ruth Ewan
Ruth Ewan presents a work based on the possibilities of teaching words and phrases to Psittaciformes, an order of birds including parrots, amazons, cockatoos and parakeets, which are capable of mimicking the human voice. A large aviary has been constructed in the gallery from which a selection of birds are encouraged to repeat slogans and chants from field recordings made during the protests surrounding the G8 summit in Gleneagles in July 2005.
Psittaciformes Trying to Change the World offers up a vision of social reform, through the beak of a mimic. Ewan’s work playfully explores an interest in political idealism and questions ways in which these ideals exist under capitalism
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TRACK 16, Los Angeles
em-bedded : Alan Sondheim with Leslie Thornton
Alan Sondheim, along with filmmaker Leslie Thornton, will transform Track 16 Gallery’s cavernous main gallery into the multi-media installation, em/bedded. Sondheim brings together video projections of cyborgian, mutating, sexual bodies and the artifacts of battlefields soaked in banal horror. Together, they offer a distorted beauty of the disasters of war and the pleasures of love. Guest curated by Tyler Stallings.
Like nomads, Sondheim and Thornton create an ensemble of videos and the physical remains of history that traverse the landscape of memory and time. The work occurs in the far future - mutations, extinctions, broken spaces of information. The work occurs in the past - organisms huddled as if protected against the fury of the world, primitive electrical machines tuned into atmosphere and universe.
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fa Projects, London
Neal Rock and Newbetter present: Hydan
Roquebrune, France 1952: Le Corbusier’s Cabanon was completed, fusing rustic domesticity with high Modernist detailing at the site of his eventual, mysterious death. In New York, the same year, Jackson Pollock executed the last of his monumental action paintings: Blue Poles No.11. Pittsburgh 1968: George. A Romero finished filming the first of his ‘Dead’ series. In Paris, Roland Barthes completed his seminal essay ‘The Death of The Author’.
These two moments provide a conceptual framework to the collaboration between Newbetter (Joshua Bolchover, Shumon Basar, Parag Sharma) and British Artist Neal Rock, for Rock’s second exhibition at f a projects. Newbetter’s constructed environment houses the filmic contrivances of Rock’s silicon painted sculptures in a tableaux that owes as much to Le Corbusier’s Cabanon as it does to the later fabrication of Sam Raimi’s ‘The Evil Dead’ gore-effects
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Jacob Christopher : Spice Narcissus
A new installation inspired by the myth of Narcissus.
Jacob Christopher constructs a reflecting pool on the Ledge composed of many colorful and smelly things. It's a self-indulgent adventure exploring the relationship between beauty, technology, and self-destruction. For this piece, Jacob constructs the reflecting pool out of materials chosen for their aesthetic appeal and relationship to excesses of global culture, combining the real and synthetic into a lush garden wasteland.
Jacob Christopher is a Chicago based artist working in various mediums including video, sculpture, installation, radio, and performance. He likes to engage in repetitive activities because it makes him feel like he's exploring some kind of existential connectedness, or at least that's what he says he's doing, who really knows?
Ziehersmith, New York
Rachel Owens : Overthrows
Rachel Owens stages the finale to a fantastical fox- hunt that will upheave the gallery in a metaphoric statement on our western power structure. As efforts relating to the war in Iraq, Hurricane Katrina, and others come under further scrutiny, American strength seems to have turned into folly.
Owens’s installation features dogs (seen previously as cardboard-constructed warriors/victims in the “fight against terrorism”), here roughly molded in plaster and joined by a master on horseback in a futile fox- hunt. In their excitement and determination to catch their prey, the loyal creatures foolishly destroy and upend the terrain. As the result of Owens’s plot, the gallery floor will rise in a wave; the horse bucks, leaving the rider facedown on the ground. While the dogs run circles and tear at the earth, the fox is nowhere to be found. Green glass vines, made of broken bottles, creep over the ashen scene from beneath the peeling floor.
James Nicholson, New York
James Nicholson Gallery is pleased to present the U.S. debut of Swiss artist Reto Boller. The exhibition will open on May 11th and continue through June 24, 2006.
Reto Boller’s work brings color off the surface and into the viewer’s space, hovering somewhere between painting and sculpture. Boller creates works in the studio and pairs these with large wall and floor paintings made on-site, producing an environment in which colors and tones seep into the room and envelop the viewer
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Cristina Guerra, Lisbon
Matt Mullican | Room Number 4
Cristina Guerra Contemporary Art is pleased to announce that Matt Mullican will be showing ROOM NUMBER 4, one of the chambers from his installation ‘Learning from That Person’s Work’, initially conceived for the Ludwig Museum in Cologne. In his introduction to the Ludwig catalogue, Kaspar König describes the exhibition as a “locus of emergence” with “hundreds of drawings and collages via a multi- layered complex”. Made with numerous bed sheets that function as supports for the works on paper, this fragile, labyrinthine architecture, designed by Mullican, replaces the gallery with “that person’s” world.
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cactus bra SPACE, San Antonio
Dazzle : Susan Cheal and Douglas Holmes
The projected images are drawings made up of light, which were created by Cheal. Using light emitting tools, she drew gestural abstract forms in the dark and photographed them. They were then digitally manipulated on the computer. The result is a series of dazzling compositions which are reminiscent of sparks, calligraphy, electric storms and explosions.
Holmes composed a series of computer generated songs, using both synthesized and sampled sounds. [..] Unlike a slide show, or a musical score for a film, each combination of sound and image never repeats itself. The computer program analyzes the pitch and amplitude of the music and projects an image which describes the sound.
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IBID Projects, London
ANTHEA HAMILTON : Athens
Hamilton’s installations are made of a series of autonomous elements that get recombined for different exhibitions to form impermanent three- dimensional collages. Sculptures, appropriated images, plants, drawings, clothes, videos and paintings all unite in the artist’s vocabulary, they all recur in the composition of variously articulated arrangements fully occupying the exhibition space. Hamilton’s compositions look eccentric and enigmatic but are backboned by a well-articulated reworking of art history and pop culture combined with an investigation into feminine sexual desire. This latter is addressed with wit and impertinence in her videos, which juxtapose elements such as popular music or 60s pattern design producing a stimulating effect. The installation’s three-dimensional composition has some modernist resonance but this is formally dissolved rather than indulged thanks to a makeshift aesthetic that amplifies the work’s internal unbalance.
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