Céline Condorelli has developed an extensive body of work by developing possibilities for ways of living and working together and enquiring into property relations and everyday life, which addresses notions such as public space, institutions, politics, the commons, fiction, and articulation.
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¿Cómo te voy a olvidar? / How could I forget you? takes its title from the leading cumbia group Los Angeles Azules, whose melody played over our two years of intense research in Mexico. From our visits to artist workshops in Mexico City, Oaxaca, Monterrey or Guadalajara, from Michoacán to Chiapas and the Yucatán, at residencies, institutions, and galleries... This song accompanied us everywhere, with the artists, while travelling, or in the streets: for us it is the refrain of an intense and passionate Mexico.
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Works by Ricardo Baruzzi, Ryan Mrozowzski and Leonor Serrano Rivas expand the notion of line and its transformation across disciplines. Lines as thoughts. Movements, which extend beyond flatness and weave into our real time and space.
Exo Exo, Paris, and Lodos, Mexico City, have integrated activities. At a macro level both acknowledge the broader responsibility to develop a new kind of engagement. At the micro level it remains necessary to promote additional points of view while looking for willing partners as a means of building alliances and building coalitions.
Reconstructive Memory is an English term borrowed from cognitive psychology meaning that memory is not a faithful reproduction of past events but rather a mental faculty based on recollection-reconstruction processes. Depending on our emotions, our level of tiredness, our beliefs, we may reconstruct episodes from our lives in a way that leads to distortions, alterations and false memories.
Between homage and reference to passing time, the artists of Né un 2 juillet cross the city in groups or alone. They make us travel through time, through a new cult of postmodernism and the emergence of fresh contemporaneities.
Exhibiting artists: Bianca Bondi, Pierre Clément, Olivier Kosta-Théfaine, Vicente Lorgé, Roman Moriceau, Ricardo Passaporte, François Patoue, Russell Tyler and Romain Vicari.
Almanac is delighted to present 5225 Figueroa Mountain Rd, a solo show by British artist Isaac Lythgoe. The works band together to celebrate the birth of the cool, and resist its growing up – growing up poor, growing up man¬aged, growing up in the art world. Captured behind the screen, the protagonists of this world have become prisoner to a forbidden desire for simultaneous blackness and whiteness. Impossible to consummate, their bodies are shielded by a transparent boundary of childhood ritual, an endless repetition of pillow talk and nursery rhymes.
Brand New Gallery is pleased to announce a group exhibition titled Life Eraser curated by Domenico de Chirico featuring works by Cornelia Baltes, Rachel De Joode, Jennie Jieun Lee, Anne Neukamp, Ruth Root and Shinique Smith.
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East of Eden is a collaborative project between Grear Patterson and Yves Scherer which takes it’s title from John Steinbecks novel published in 1952. Conceived as an exhibition series which unfolds over multiple stages and cities in the month of June, Jeanroch Dard is pleased to present it’s second chapter after it’s prelude in Berlin.
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Studiolo is glad to present the artists Melike Kara, Talisa Lallai and Lindsay Lawson's group-show, curated by Maria Chiara Valacchi. On this occasion there will be shown only unreleased works which will reveal to the observer a concatenation of stylistic languages, including painting, sculpture, photography and installation. The artists, got together to ri-elaborate enigmatic shapes and to recover extra-ordinary subjects hidden to a hasty gaze, work for the first time on a shared project.
For ten days, a fresh egg was Zoe Barcza’s best friend. Her other friends were all in school. She found the special egg at the restaurant where she worked, in a cardboard package among many others almost like it. It was vaguely bluish, just like the inside of Zoe’s arms, or the light falling on Zoe’s sheets in mid-morning, when Zoe was tired of everything.
SHE SHED is Katharina Fengler’s first solo show as solo artist in Germany. She presents new large-scale paintings on Tyvek as well as mixed media salt dough objects. The title of the show is a neologism referring to little garden houses designed especially by and for women as counterparts to the slightly more popular 'man cave' or 'mantuary'. Without any aspiration of wanting to depict ’she sheds', Fengler adopts the term metaphorically to challenge the expectations that are (still) bound to assigned work, gender and lifestyle norms.
One of the central subjects in the collaborative practice of Prague based artists Johana Pošová and Barbora Fastrová is the field of Nature and its antagonistic relation with the concepts of Western modernity. Nature in Western modernity has been traditionally conceptualised as an obstacle that is to be overcome or utilised by human needs, determining thus the stance of the Modern human as the anthropocentric other, whose wants and interests are given preferential treatment. Nature therefore, became subjugated to the purpose and the operation of scientifically equipped humanity, making Western man the master and the possessor of Nature. The objectification of such understanding transformed Nature into a subject detached from man; Nature became a separate space, a threat and something that is to be overcome and exploited.
A cactus is a member of the plant family Cactaceae within the order Caryophyllales. The word «cactus» derives, through Latin, from the Ancient Greek ƩнƩƲƮư kaktos, a name originally used by Theophrastus for a spiny plant whose identity is not certain. And its a symbol of a mothers unconditional love in other cultures innit for its medicinal qualities.
Wolfgang Voegele's work shows a process from concept to intuition – always focussing the painting itself. Drawing on the very beginning of painting and art, Voegele creates an own vocabulary by using archaic and simplistic forms and lines. These compositions are based on a computer-generated sketch, which then are applied to the canvas – and fail by doing so.
The exhibition takes its title Summer Learning Loss from research into the effects of extended leisure time within educational contexts, noting that on average one month of learning is lost during a student’s summer vacation. There is a hidden cost to relaxation: information loss, we are warned. This anxiety is played out in this body of weavings, in which digital images of popular vacation locations are cropped from their context and layered until faceless – familiar, but no longer real or ideal. The personal becomes anonymous, the private now shared, the author disappears into the background.
Aujourd’hui is pleased to announce Diango Hernández as our next interview. The Cuban born artist is still defying simple categorizations, breaking boundaries and always challenging his work through craftsmanship and a unique notion of materialization. With a intimate view on the role of his art and how it has been shaped through traveling and living abroad, Diango Hernández has been widely exhibited in galleries like Barbara Thumm (Berlin), Marlborough Contemporary (London) and Alexander and Bonin (New York) and institutions such as Kunstahlle Basel (Basel), Museum Morsbroich (Leverkusen), Museum of Contemporary Art (Tokyo), Tate Liverpool (Liverpool), Barbican Centre (London) among many others. Read our interview to find out how he manages to turn blurry memories into feelings, how every nationality comes with different degrees of complication and how he believes that a better future is possible through art instead of any kind of politics.
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Referencing the poetry of CP Cavafy, this new series of work further articulates the complex territory of language, memory, history and sexuality at play within Hull’s idiomatic painting. With richly steeped allusions to the ancient world and the Greek language, CP Cavafy’s poetry merged Classical and homoerotic themes, often referencing his home city of Alexandria and its confluence of Latin, Greek, Coptic and Arabic languages and culture. His 1917 poem “For Ammonis, Who Died at 29, in 610” is composed as an epitaph mourning not only the death of a beloved young poet but also Alexandria’s broader shift away from Greek language and culture in the 7th century.
Ellis King is currently showing the solo debut of Los Angeles-based artist Nora Berman’s Charm, an exhibition of eight, outsize, two-sided painting objects that toy with the perverse power of fascination. Each object’s life as a charm, so to speak, originates from Berman’s lived experiences as creator and subject of their opposing facades. Each work has a distinct front and back, and composed in the haphazard constellation of this show, they eschew their directionality and play off of one another as yin and yang—embellished photographs of the artist, and opposite, expressive figurations beamed out via her mind, eye, and hand.