George Condo – Robot Girl, 2012

George Condo - Robot Girl, 2012

George Condo
Robot Girl, 2012
Patinated bronze
11 × 7 × 6 in
27.9 × 17.8 × 15.2 cm
Edition 2/4 + 1AP

George Condo Bio

George Condo’s work is populated by a cast of characters whose bulging eyes, bulbous cheeks, proliferating limbs, and hideous over – and under-bites set them apart as a singular species. Drawing on vastly diverse painting practices—like Pablo Picasso, Diego Velázquez, Henri Matisse, and Cy Twombly—Condo absorbs a vast range of art-historical sources, yet, at the same, creates a pictorial language characteristically his own, one that investigates the macabre, the carnivalesque, and the abject. He calls his surrealistic style “psychological cubism”, exploiting “our own imperfections—the private, off-moments or unseen aspects of humanity—that often give way to some of painting’s most beautiful moments.” Even Condo’s most abstract works, like Internal Space (2005) with its impenetrable geometric scaffolding of forms radiating from the painting’s center, explore the furthest extremes of the human psyche.

American, b. 1957, Concord, New Hampshire, based in New York, New York

Kate Bellm – Night Sky Rising

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Kate’s World

Kate Bellm’s solo show, Night Sky Rising until 13 January 2018 at Lamb Arts, London.

Black Balloons II (Big Scale) – Tadao Cern

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Black Balloons II (Big Scale)
Tadao Cern

“Every single day I spend at my studio and my creative process resembles playing. Everything I create comes out of curiosity. The same happened with a project ‘Black Balloons’.

For an extensive amount of time I had an idea to connect two balloons. I found a free minute between the other currently run projects, bought two balloons, and got overwhelmed by the result.

It was so unpretentious and so magical at the same time! That opposition created by two very simple and playful objects once again brought a unique childlike sense of discovery.

This experience uncovers a lot and the more one looks at it, the more it becomes true: “simplicity is a genius”

For the first test I used two regular latex balloons and two different gasses: helium and sulfur hexafluoride – the light and the heavy ones. Later on, I worked out how to make the balloons float in the middle of a glass tank without connecting them to anything… Compositions started to grow more complex and bigger when eventually I was working with 3-meter big custom made balloons… Results can be found below.”

Tadao Cern

Materials: Rubber, plastic, metal, carbon dioxide, helium

tadaocern.com
facebook.com/tadaocern
instagram.com/tadaocern

Emanuela D’Ambrosi – Invisible Monster

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Emanuela D’Ambrosi
Invisible Monster

Emanuela D’Ambrosi, 28, degree in photography at the European Institute of Design in Rome. She owes everything to the photograph which has enabled it to create a deep relationship with reality, to receive it at will. She abandoned her studies in Psychology to follow the path that most preferred, convinced that the two disciplines would complete each other, she preferred to speak in the first person, keeps on having a great passion for the workings of the human mind and the latent intentions of individuals. Citing Susan Sontag: “a photograph is both a pseudo-presence and an indication of a lack”

Behance

Beautiful New Worlds – Virtual Realities in Contemporary Art

Beautiful New Worlds - Virtual Realities in Contemporary Art

View of Myths of the Marble, ICA, Philadelphia, Florian Meisenberg, Of Defective Gods & Lucid Dreams (The Museum is Closed for Rennovation), 2017. © and courtesy the artist.

Beautiful New Worlds
Virtual realities in contemporary art
November 11, 2017 — April 8, 2018

Zeppelin Museum
Seestraße 22
88045 Friedrichshafen
Germany

The popularization of virtual reality has created a visual revolution that radically changes both our perception of images and our relationship to reality. Virtual spaces create illusionary worlds that can be directly experienced. Viewers immerse themselves in impressions as far away as possible from the outside world, thereby becoming physically involved through interactive elements that resemble their body. Through virtual reality, the audience becomes part of an image that fills their entire field of vision.

Technologies suitable for mass consumption, such as VR glasses, 3D cardboards, 3D projectors and televisions, are increasingly found in everyday life. The various fields of application for these technologies, including 3D-supported operation monitoring, video games, trauma coping and the digitization of lost cultural treasures all illustrate how virtual spatial images already influence different areas of our world and will continue to shape our future.

The exhibition Beautiful New Worlds addresses these recent developments in image technology and explores the resulting entanglement of virtual and physical spaces. A particular focus is placed on the socio-political potential of virtual technologies. In the crosshairs between illusion and critical distance, different artistic positions examine the possibilities presented in the fields of forensics, the porn industry, and modern warfare; after all, control over virtual space is always interlinked with control over physical space. Virtuality and reality are tightly intertwined with one another.

The escape into illusionary worlds is by no means a new phenomenon. Rather, it is grounded in long traditions. Panoramas, dioramas and stereoscopes illustrate the centuries-old history of mankind’s interest in immersive media. The starting point of the exhibition are stereoscopic photographs, which accompany the history of the Zeppelin from 1900 to the 1930s.

In an exhibition space spanning over 1000 square meters, 13 internationally renowned artists will address the relationship between virtual and physical spaces. In this way, the exhibition reflects different varieties of virtuality. Together with the Berlin-based architecture firm Kooperative für Darstellungspolitik, an exhibition course was created in order to make the complex relationship between virtual and physical spaces bodily perceptible for the audience. The range of virtual reality is explored through simulations in which the physical environment is artificially reproduced, through 3D videos, and through virtual reality spaces that create an all-encompassing illusionary space.

Working closely together with immersive visual media, the artists have collaborated with programmers to further develop the existing technology and revitalize the interdisciplinary interface between contemporary art and technological innovation.

Participating artists: Halil Altindere, Salome Asega & Reese Donohue & Tongkwai Lulin, Trisha Baga, Banz & Bowinkel, micha cárdenas, Harun Farocki, Forensic Architecture, Sidsel Meineche Hansen, Florian Meisenberg, The Nest Collective

zeppelin-museum.de

Timber – Dangyuongji

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Timber
Dangyuongji

Todd Hido – #11692-492, 2016

Todd Hido - #11692-492, 2016

Todd Hido
#11692-492, 2016
Pigment print
20 x 16 in (50.8 x 40.64 cm)
Framed
AP 1/2 outside of main edition
Courtesy of Casemore Kirkeby Gallery
Signed on recto

Todd Hido (American, b. 1968) is a contemporary artist and photographer. Currently based in San Francisco, much of Hido’s work involves photographs of urban and suburban housing across the U.S.. He has produced a number of well received books, had his work exhibited widely and included in various public and private collections. Hido graduated in 1991 with a B.F.A. from Tufts University, Medford, Massachusetts and School of the Museum of Fine Arts, Boston, Massachusetts. Between 1991–92 he studied at Rhode Island School of Design, Providence, Rhode Island. In 1996 he gained an M.F.A. from California College of Arts and Crafts, Oakland, California.

Paddle8

Hana Knizova – Joshua’s Bum, California 2017

Hana Knížová
Joshua’s Bum, California
2017
C-type on Fuji Archival paper Ed. 5 +1 AP
16.5 x 23.4 in

Czech photographer Hana Knížová portrays youth in all stages of being. Whether it’s siblings with an uncanny resemblance, the inhabitants of a youth detention centre in northern Czech Republic or aspiring actors, screenwriters and directors in and around Hollywood, Knížová never fails to capture the emotional subtleties of her subjects. The fact that her model’s faces are frequently covered renders their body language all the more powerful, making them appear like entangled sculptures at times. Using unconventional models and alternating between staged and impromptu shoots, Knížová hopes to create a time capsule for her subjects that will later allow them to look back at these days filled with fickleness, uncertainty and great aspirations and hope.

Knížová lives and works in London, where her works have been met with critical acclaim: her pictures were shown in the prestigious Taylor Wessing Photographic Portrait Prize exhibition. In 2013, she was awarded the John Kobal New Work Award by the National Portrait Gallery. SLEEK presents a selection of works from her Young Hollywood and her Couple Exchange series as well as a picture from Ellyana, a series which was sparked by her interest in albinism.

Sleek Art

Walter Leblanc – Sensorial Geometries / Geometrie Sensoriali

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Walter Leblanc: Sensorial Geometries / Geometrie Sensoriali
Edited by Francesca Pola
Text by Francesca Pola

2017
64 pages
English / Italian
Softcover, 21 x 29,7 cm
ISBN 9788867492855

The Belgian artist Walter Leblanc (1932-1986) was an outstanding figure in post-World War II European art, whose importance is drawing international attention. This exhibition at Cortesi Gallery (London, 1 June – 21 July 2017), curated by Francesca Pola and realized in collaboration with the Walter and Nicole Leblanc Foundation of Brussels, brings together pivotal examples of his work from the 1950s to the 1970s, presenting the significant periods of his creative activity.
This fully illustrated catalogue includes an essay by Francesca Pola, images of all of the works exhibited, installation views of the exhibition, and a bio-bibliographical appendix. Based on extensive archival and iconographic research, it offers a more complete understanding and further international studies of Leblanc’s work.

Mousse Publishing

The Artist as Curator – An Anthology

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The Artist as Curator: An Anthology
Edited by Elena Filipovic
Texts by Alexander Alberro, Monica Amor and Carlos Basualdo, Biljana Ciric, Ekaterina Degot, Elena Filipovic, Claire Grace, Anthony Huberman, Dean Inkster, Alhena Katsof, William Krieger, Elisabeth Lebovici, Ana Longoni, James Meyer, Isabelle Moffat, Nina Möntmann, Natalie Musteata, Sandra Skurvida, Dirk Snauwaert, Lucy Steeds, Monika Szewczyk, and Kaelen Wilson-Goldie
Afterword by Hans Ulrich Obrist

2017
English
416 pages
softcover, 21 x 28 cm
ISBN 9783960981787

This is an anthology of essays that first appeared in The Artist as Curator, a series that occupied eleven issues of Mousse from no. 41 (December 2013/January 2014) to no. 51 (December 2015/January 2016). It set out to examine what was then a profoundly influential but still under-studied phenomenon, a history that had yet to be written: the fundamental role artists have played as curators. Taking that ontologically ambiguous thing we call “the exhibition” as a critical medium, artists have often radically rethought conventional forms of exhibition making. This anthology surveys seminal examples of such exhibitions from the postwar to the present, including rare documents and illustrations.

It includes an introduction and the twenty essays that first appeared in Mousse, a newly commissioned afterword by Hans Ulrich Obrist, and two additional essays that appear here for the first time, discussing twenty-two exhibitions by the Avant-Garde Argentinian Visual Artists Group; Mel Bochner; Marcel Broodthaers; Hank Bull, Shen Fan, Zhou Tiehai, Shi Yong, and Ding Yi; John Cage; Judy Chicago, Miriam Schapiro, and the CalArts Feminist Art Program; Collaborative Projects Inc. (Colab); Alice Creischer, Andreas Siekmann, and Max Jorge Hinderer; Liam Gillick and Philippe Parreno; Group Material; Richard Hamilton and Victor Pasmore; David Hammons; Martin Kippenberger; Mark Leckey; Goshka Macuga; Lucy McKenzie and Paulina Ołowska; Hélio Oiticica; Walid Raad and Akram Zaatari; Martha Rosler; Avdey Ter-Oganyan; Philippe Thomas; and Andy Warhol.

Co-published with Koenig Books, London

Mousse Publishing

Late Nights at the Guggenheim, Summer 2017

Special programs and late nights at the Guggenheim
Summer 2017

In celebration of the summer season, the Guggenheim will be open late until 9pm on Tuesday evenings from June 20 through August 29. Plan a visit during these special extended hours for an expanded museum experience that includes open galleries, a rotunda bar, films, performance, and lively discussions. Included in the price of admission is The Summer of Know, a special series of conversations in the museum café bringing together artists, activists, and thinkers to address pertinent political and social issues.

Solomon R. Guggenheim Museum
1071 5th Ave
10128 New York, NY
USA

www.guggenheim.org

Ashley Bickerton – Ornamental Hysteria

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Ashley Bickerton – Ornamental Hysteria (Signed)
Hardback 2017
140pp
315 x 240 mm (13 x 10 inches)
Foreword by Hugh Allan
Essays by Paul Theroux, Nicola Trezzi, Roddy Bogawa/Ashley Bickerton
Published by Other Criteria

Bali-based artist Ashley Bickerton (born 1959) rose to prominence in the early 1980s as part of New York’s East Village art scene with his vibrant abstract works critiquing consumer culture and the commodification of the art object. Alongside Jeff Koons, Meyer Vaisman and Peter Halley, Bickerton pioneered what was called the “Neo-Geo” movement with his unconventional paintings devoid of Expressionist brushstrokes. Featuring works that span the duration of Bickerton’s career thus far, from the earlier consumerist works up to the recent tropically-colored mixed-media paintings of exotic, erotic fantasies and nightmares, Ashley Bickerton: Ornamental Hysteria draws from works in Damien Hirst’s Murderme collection. This fully illustrated book offers a thorough survey of the artist’s diverse body of work and includes essays by novelist Paul Theroux and art critic Nicola Trezzi, as well as a conversation between Bickerton and the filmmaker Roddy Bogawa.

Ashley Bickerton: Ornamental Apocalyptic at Newport Street Gallery, London
21 April – 20 August 2017

Freedom not Genius – Works from Damien Hirst’s Murderme Collection

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Freedom not Genius – Works from Damien Hirst’s Murderme Collection

2012
208pp
305 x 225 mm (12 x 9 inches)
Hardback
100 colour illustrations
Essay and an interview with the artist by curator Elena Geuna
Essay by Mario Codognato
Published by Other Criteria and Pinacoteca Giovanni e Marella Agnelli
ISBN 978-1-906967-56-7

“Hirst began his collection in the late 1980s by exchanging his own works with those of his contemporaries and artist friends. It has grown to include works by many international artists of earlier generations: not only postwar masters like Bacon and Giacometti, but also pivotal figures in the history of 20th century art, such as Richard Hamilton, Mario Merz, Bruce Nauman, Richard Prince and Kurt Schwitters. Two themes recur frequently in this selection – memento mori and the animal kingdom – and together they are capable of communicating the spirit of the entire collection, combining masterpieces of contemporary art with fascinating specimens from the natural world.

An independent curator, author, and art advisor, Geuna has contributed a perceptive essay on the scope and nature of this collection as well as a penetrating interview with Damien Hirst. Another essay by Mario Codognato (writer, and curator at Blain|Southern) explores Hirst’s dual role as artist/collector, and analyses his considerable influence, both on his contemporaries and on younger artists whose work is still developing. Accompanying stunning colour plates of all the works in the exhibition, there are also brief biographies of the artists involved.

Elena Geuna is an independent curator, author, and art advisor. Mario Codognato is a writer, and curator at Blain|Southern.

Freedom not Genius – Works from Damien Hirst’s Murderme Collection, accompanies the exhibition at the Pinacoteca Giovanni e Marella Agnelli in Turin, Italy, which presents selected works from Hirst’s art collection, curated by Elena Guena. The exhibition is from 10th November 2013 until 10th March 2013. There are 51 artists in the exhibition: Frank Auerbach, Francis Bacon, David Bailey, Banksy, John Bellany, Nick Bibby, Ashley Bickerton, Peter Blake, Don Brown, Mat Collishaw, John Currin, Tracey Emin, Faile, Angus Fairhurst, Abigail Fallis, Paul Fryer, Alberto Giacometti, Steven Gregory, Richard Hamilton, Marcus Harvey, Rachel Howard, John Hoyland, Gary Hume, Paul Insect, John Isaacs, Michael Joo, Jonathan Kingdom, Jeff Koons, Jim Lambie, Sean Landers, Hyungkoo Lee, Sherrie Levine, Colin Lowe, Sarah Lucas, Mario Merz, Rodrigo Moynihan, Vik Muniz, Takashi Murakami, Bruce Nauman, Olly and Suzi, Gabriel Orozco, Pablo Picasso, Walter Potter, Richard Prince, Kurt Schwitters, Haim Steinbach, Fred Tomaselli, Keith Tyson, Andy Warhol, Rachel Whiteread, Cerith Wyn Evans.”

Other Criteria

Elger Esser – Enfeh I, Lebanon, 2005

Elger Esser, Enfeh I, Lebanon, 2005. C-print, Diasec, 142 x 184 x 5 cm.

Elger Esser, Enfeh I, Lebanon, 2005. C-print, Diasec, 142 x 184 x 5 cm.

Parasol Unit
Foundation for Contemporary Art

Flash Art International no. 313 – March / April 2017

Flash Art International no. 313
March – April 2017

Discussing the painting practice of Kerry James Marshall with Hans Ulrich Obrist, fashion designer Grace Wales Bonner cites Marshall’s intention to keep producing images of blackness “so that you’re broadening the spectrum and flooding people with that kind of imagery until it becomes normal.” “I think that’s probably why I’m on this path as well,” she concludes. Her words are central to this issue of Flash Art, which is premised on broadening the spectrum of representation of disenfranchised and marginalized communities and giving voice to creatives emerging out of these groups.

This issue gathers together artists and practitioners concerned with the development of creative languages “for empowerment,” all of whom “weaponize” creativity. In a tacit homage to Lutz Bacher’s interview project “Do You Love Me?” our cover artist Puppies Puppies meets with fellow Los Angeles–based artist Nancy Lupo. To his question, “What do you think about power in my work?” Lupo replies: “We are mutually vulnerable. The project of finding out when and where love begins is irresistible because it allows you to inscribe yourself into something that’s already happening. You get to choose your archetype, although it’s true that archetypes can be vexing, as are readymades.”

Flash Art

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