HR-Stamenov’s The Phenomenon of W24°58’59,43″ N42°07’55,29″ is very much a site-specific, media, sound and light installation. This time, he toys with the image of a ghost metro train which has traveled throughout Europe and suddenly appears in Berlin. It ignores physics, gaps between buildings, space and time.
“The situation” is purely experiential, engaging viewers immediately in real time and space to implore a questioning of the art experience, and experience itself. If “This situation” is not a work of performance design, I don’t know what is. It is not surprising to learn that Sehgal is a trained choreographer; he composes what is then physically interpreted by non-actors, actors and dancers, and in the case of “This Situation,” intellectuals.
Of particular interest would the November 9, Open Space Forum, which organizers say “will explore several key factors in the development of contemporary culture that we consider important. They are: the development of international partnerships, the establishment of independent art spaces, as well as the development of new audiences and international mobility of artists and creative products.”
It’s a prefab vision, but the exhibition seems to be arguing for a Fluxcity vision. that allows a single module to form into clusters, communities and hives. The concept leans on Maciunas’s prefab design for Fluxhouse, which was completed in 1965. An architect, George Maciunas, educated in architecture at Cooper Union and Carnegie Institute of Technology, held several prestigious professional positions in firms including Skidmore, Owing and Merrill, Olin Mathieson Chemical Corporation and Knoll Associates. For sure, Fluxcity is not a fancy idea.
In “Wonderlust,” Canadian artist Sarah Anne Johnson’s work pushes the boundaries of photography by incorporating burning, scratching, gouging and glitter into her practice. These effects, she believes, “make visible the elation, beauty and self-consciousness of sex.” She photographed her subjects in their homes and then worked with the resulting prints in her studio
Alfonso Ossorio is a central figure of postwar American art, but he has been virtually absent from standard art history texts. Some people have claimed that Ossorio was just imitating Jackson Pollock. This exhibition shows that Ossorio had his own unique “wax-resist” painting technique that really no one else had used. He forged his own wild assemblages that he called “congregations.” It’s time to re-draft the history of postwar American art.
The British art critic Waldemar Januszczak rails against curators in today’s Letters Page of the Guardian
The works in The Future That Was exhibitions in New York and Manila are reflections upon the structures and ideas that produce, frame and promote art and design. Philippine artist Patricia Perez Eustaquio weaves an open-ended narrative that examines notions of innovation and novelty, timeliness and timelessness, particularly as they relate to the language of design and fashion. She is interested in how material, fabrication, and intention combine to form an object that then takes on a life of its own.
Ashley Bickerton (b. 1959, Barbados, West Indies) graduated from the California Institute of the Arts in 1982 and continued his education in the Independent Studies Program (ISP) at the Whitney Museum of American Art, New York. A seminal figure in the East Village scene of the 1980s, Bickerton has been associated with the “Neo-Geo” approach to art making.
These paintings are based on studies of the gestures of resistance and defiance. They are permanent records of the ‘faceless’ individuals who find themselves on the wrong side of the law.
Forty LaMaMa artists are featured in the “Family Show”. Gallery hours are Wednesday through Sunday 1:00-7:30 PM. La Galleria is located on 6 East First Street, between Second Avenue and Bowery.
The Elo Progo exhibition centers on Ong’s first public showing of video works, which were inspired by the rituals of water meditation and informed by themes of gender fluidity and mythic transformation.
I would go so far to say that, after post-structuralism, communication is now the dominant force in design innovations. PQ provides designers with an international art-based platform where they can wrest back the current valorization of time-based performance modes, which visual artists have ruthlessly co-opted for their own ends
“These events, on a practical level, raise the public’s level of awareness of the importance of good creative design. They affirm the professionalism and creativity of outstanding designers and theater architects. And these events have demonstrated an economic impact to the countries that host them.”
The following interview originally appeared in Postcards from the Inge, a blog. It is re-posted here with the kind permission of the author. Interview by AMANDA WHITE THIETJE Well, here it is, friends—the final installment of the Randy Gener trilogy. Thank you for tuning in this week to read Randy’s words, and many thanks to Mr. Gener …
Concurrently with his own gallery show, Ocampo is curating a group exhibition of Manila-based artists, entitled “Bastards of Misrepresentation,” taking place at several New York venues, including the Queens Museum, NYU, TOPAZ Arts, and Crossing Art.
Our founder, Sheikha Salama bint Hamdan Al Nahyan, is a passionate patron of the arts and a committed supporter of Emirati artists, and so it is with great pleasure that we are able to play a role in the program,” stated Dr Salvatore LaSpada, Executive Director of the Foundation.
“Histories at the Margins,” a retrospective of Adriana Varejão’s paintings, showcases works that have never before been exhibited in Brazil, on loan from renowned collections including Fundació “La Caixa” (Barcelona), Solomon R. Guggenheim (New York), and Tate Modern (London)
The event, which will take place in Queens, consists of an exhibition by Eric De Leon Zamuco, an installation performance piece by Jeho Bitancor; and a salon-style talk by transnational writer Ninotchka Rosca, the author of “Endgame: The Fall of Marcos.”
In a new exhibition in a Dubai gallery, entitled “Collage Tales,” Iranian photographer Arman Stephanian invokes the tradition of story telling by using photographic images to tell stories of past and present.