WHAT’S ON: (Nothing But) Flowers, September 10 - October 11, 2014. Nathalie Karg Gallery, 41 Great Jones Street, New York, NY 10012.
Featuring: Michiel Ceulers, Jo Nigoghossian, Anthony Pearson, Paul Pascal Theriault, Lisa Williamson.
Paul Pascal Theriault, Gatinhos, 2014. Courtesy Nathalie Karg Gallery.
FEATURED ARTIST: Can Altay, COHAB: An Assembly of Spare Parts, 2011. Installation view. Courtesy CASCO - Office for Art, Design & Theory and Arcade, London.
WHAT’S ON: Strauss Bourque-LaFrance: No Aloha, September 7- October 19, 2014. Rachel Uffner Gallery, 170 Suffolk Street, New York, NY 10002.
Featuring SculptureCenter artist Strauss Bourque-LaFrance
Courtesy Rachel Uffner Gallery.
FEATURED ARTIST: Can Altay, Distributed, 2012. Chrome door knobs. Courtesy Create, London, Frieze Projects East for the London Borough of Waltham Forest, and Arcade, London.
FEATURED ARTIST: Can Altay
Can Altay is an artist living in Istanbul. He investigates the functions, meaning, organization and reconfigurations of public space. His ‘settings’ provide critical reflection on urban phenomena and artistic activity. His work traverses sculpture, photography and installation, and is staged and manifested through the spaces, exhibitions and publications he produces.
Altay has had solo exhibitions at Arcade, London (2012), Casco, Utrecht (2011), The Showroom, London (2010), Kunstlerhaus Bethanien, Berlin (2008), Sala Rekalde, Bilbao (2006) and Spike Island, Bristol (2007). His work has been included in Biennials of Istanbul, Havana, Busan, Gwangju, Marrakech, Taipei; and in museums and galleries such as the Walker Art Center (Minneapolis), VanAbbe Museum (Eindhoven), ZKM (Karlsruhe), Artists Space (New York), and SALT (Istanbul). His public projects include: “Inner Space Station” (NewYork, 2013); “Distributed” (London, 2012); “The Church Street Partners’ Gazette” (London, 2010-13) and “PARK: bir ihtimal” (Istanbul, 2010). Altay is the editor of Ahali: an anthology for setting a setting, 2013 published by Bedford Press, AA Publications, London.
Can Altay, Another Empty Pedestal: after similar skids from recent pasts, 2010. Setting with concrete Lotus Leaf sculpture from the evicted Vietnamese Community Centre, Warsaw. Installation view. Courtesy Centre for Contemporary Art, Ujazdowski Castle, Warsaw and Arcade, London.
Marlie Mul, Project X (Small edition and web project, 2013). Small edition publication designed in collaboration with Vela Arbutina.
Featuring contributions from D.N., Harry Burke, John Beeson, SculptureCenter In Practice 2014 Guest Curator Kari Rittenbach, Marlie Mul, Pablo Larios.
Read about Marlie Mul’s involvement in the upcoming SC exhibition Puddle, Pothole, Portal (October 2, 2014 - January 5, 2015).
Courtesy the artist.
FEATURED ARTIST: Bradford Kessler, Young Grandfather, 2014. Aquaresin, dead sea minerals, safe paw ice melter. Courtesy 247365, New York.
FEATURED ARTIST: Bradford Kessler, New Icon, 2014. Hydroflex on engraved panel. Courtesy 247365, New York.
WHAT’S ON: Flat Neighbors, September 7- October 19, 2014. Rachel Uffner Gallery, 170 Suffolk Street, New York, NY 10002.
Featuring Dora Budor, Elaine Cameron-Weir, Daniel Keller, Ajay Kurian.
Courtesy Rachel Uffner Gallery.
WHAT’S ON: Allison Katz: Rumors, Echoes, September 4- October 4, 2014. Boatos Fine Arts, Rua Joao Moura, 187 - Jardins, Sao Paolo.
Despite the supposedly obsolete character of painting in what is now termed the “post–internet” condition, Katz embraces an expanded practice of painting as a possible field of experimentation. This non-hierarchical and provisional attitude is perhaps better illustrated by the story behind the recurring image of the black pear which, as the artist tells me, emerged from a feeling of disgust when watching her grandmother eating the darkened bits of the fruit, only to be informed that these are the best parts because that is where sugar is concentrated. Likewise, one could say that painting is just that: an overripe medium, at once extremely sweet and repulsive.
Read about Allison Katz’s involvement in the upcoming SC exhibition Puddle, Pothole, Portal (October 2, 2014 - January 5, 2015).
Courtesy Boatos Fine Arts.
FEATURED ARTIST: Bradford Kessler
Bradford Kessler’s work features mundane objects intertwined with elegant amalgamations that are at once dark, unnerving, and playful. He seduces us into his psychotic anthropological studies with neotenous, mid-western aesthetics.
From 2005 to 2010 Kessler lived in various parts of Asia including Beijing, China where he was a studio assistant to the artist and activist Ai Weiwei. Kessler has taught and lectured at Parsons the New School for Design, School of Visual Arts, and Columbia University in New York. His works have exhibited at such venues as Electronic Arts Intermix, Anthology Film Archives, New York, and Art Basel Miami with Printed Matter, New York and Esther Schipper, Berlin. He is the founder of Prairie Fortress Press based in Lebanon, Kansas and his published works are distributed at Printed Matter, New York and Art Metropole, Toronto. He has had recent solo exhibitions with 247365 in New York and Welcome Screen in London.
Bradford Kessler, Mistletoe (3, 2, 1), 2014. Tennis ball gag harness, bracket mount. Courtesy 247365, New York.
Philippe van Cauteren, Jordan Wolfson: Ecce Homo/ le Poseur, (Walther Konig, 2014).
Read about Jordan Wolfson’s involvement in the upcoming SC exhibition Puddle, Pothole, Portal (October 2, 2014 - January 5, 2015).
WHAT’S ON: All That Matters Is What’s Left Behind, September 19 - November 8, 2014. Ronchini Gallery, 22 Dering Street London, W1S 1AN.
Featuring: Alex Clarke, Phoebe Collings-James, Ziggy Grudzinskas, Prem Sahib, Rebecca Ward, and Jens Wolf.
Courtesy Contemporary Art Museum Raleigh and Rebecca Ward.
FEATURED ARTIST: Eva Berendes, Installation view of Spring/Summer, 2014. Courtesy CRG Gallery New York, Sommer & Kohl Berlin, Jacky Strenz Frankfurt, Ancient & Modern London, and the artist.
Judith Hopf, Peep Hole Sheet Issue #19: The World of Things - silent today!, (Mousse Publishing, 2014).
Considering the relationship between the bodily reality of objects, artistic practice and a possible language to reconnect these increasingly distant universes, Judith Hopf takes her clue from ‘The Letter of Lord Chardos,’ a text composed by Hugo von Hofmannsthal in 1902. Tuning the ‘deafening silence’ triggered by the crisis of Chandos to her own, Hopf directly addresses readers to state her skepticism, but also to highlight the hypothesis of a hidden language that might resolve the impasse produced by a widespread lack of attention regarding artistic practice.
Read about Judith Hopf’s involvement in the upcoming SC exhibition Puddle, Pothole, Portal (October 2, 2014 - January 5, 2015).
Courtesy Mousse Publishing.