The Art Show: Art of the New Millennium in the Taguchi Art Collection
The Museum of Modern Art, Gunma, Japan
16 September – 12 November 2017
Perpetual Construction: A Dialogue with the House of Jean Prouvé III
CAB Art Center, Brussels
6 September – 9 December 2017
Past/Future/Present: Contemporary Brazilian Art from the Museum of Modern Art, São Paolo
Phoenix Art Museum
1 September – 31 December 2017
Tierre. Sangre. Oro.
Ballroom Marfa, Texas
25 August 2017 – 18 March 2018
It is the fate of glass to break (2017) is currently on long-term view at Kunsthalle Bielefeld in Germany.
“There’s no satire quite like the present, a fact that poses a funny challenge to contemporary comedy – or at least threatens it with redundancy.”
Marble House Project, Vermont
At Rest (Mattress) (2017) is a site specific sculpture created by Devin Farrand for Marble House Project in Dorset, VT. The leaning marble mattress sits opposite an abandoned quarry and was carved on site. Farrand found the block of marble in the forest propped against another stone amongst the moss and trees. He recalled hunting in his youth and coming across discarded objects in the landscape: “A washing machine, a dryer, a car, a refrigerator, a mattress – some objects were dumped to be shooting targets and others appeared to have no purpose.” Farrand would create his own narratives trying to imagine the scenario in which the objects were left and who their owners might be.
“‘Dealers holding on to the idea of a white cube gallery in central London are struggling, but there are also opportunities,’ says Magnus Edensvard, the founder of Ibid Gallery, who this year closed his permanent London space after 16 years in the capital. The gallery still operates in Los Angeles, where it opened in 2016, and remains in business in London in new guises.”
Centre Pompidou, Paris
15 June – 11 September 2017
“Their works above all touch on an erosion of certainties, engaging in artistic meditations on discordant truths. The abolition of time and space in the digital condition marshals together, on the same plane, the most contemporary of technologies and ancient skills revived. It is through such dyschronic moments that these works interrogate the regimes of knowledge of both past and present.”
“Those who seek to interpret collages not only keep in mind the effects a particular work might have on a viewer (surreal and uncanny are old sawhorses) but also that they must record the respective histories of the individual pieces of the whole, relaying how images and text can be repurposed, retooled, and resignified. In this way the technique has been proposed as a thoroughly modern or postmodern (pick your poison) media.”
In Praise of Shadows
Cassina Projects, New York
3 May – 4 August 2017
“Preoccupied by collective memory and how history gradually effaces anonymous individuals, in this new body of work Avotiņš communicates subtly through the gaping absence of the human figure.”
unREAL. The Algorithmic Present
Haus der elektronischen Kunst, Basel
8 June – 20 August 2017
“unREAL is an exhibition that attempts to confront the digital present through the very means of technological intervention both as critical examination as well as alternative prospects.”
Recent exhibitions and an archive of past work by Christoph Weber are now accessible online.
39 Great Jones, New York
May – June 2017
Storefront windows at the New York location of Galerie Eva Pressenhuber are home to
39 Great Jones, an exhibition space curated by Ugo Rondinone. David Adamo’s current exhibition Symphonic Poem includes a painted bronze donut amidst metronome shells made of cherry wood.
Spike Art Magazine
“In a separate car, I’ve been briefed by KW staff. They’ve given me explanatory texts by Portnoy, as well as a non-disclosure agreement covering aspects of the performance that might compromise the subject’s privacy. The banker has signed a different agreement, which includes permission for me to be present.”
24 June – 10 September 2017
“The work can be broadly considered as a musical instrument and draws inspiration from early designs for a pyrophone from the late 18th century. In contrast to traditional (church) organs, the sounds are produced by flames that cause glass cylinders to resonate. “
Curated by Thomas Linder
Set the Table
BBQLA, Los Angeles
Opening 24 June 2017
Thomas Linder will curate the upcoming group exhibition Set the Table at BBQLA. Just around the corner from Ibid Gallery, the artist-run space is organized by Thomas Linder, Timo Fahler, and Adam Beris.
Instructions for Happiness
21er Haus, Vienna
8 July – 5 November 2017
“Instructions for Happiness is dedicated to the personal pursuit of happiness. Using behavioural guidelines, the works of participating artists invite responses to simulated situations through the use of objects or by interacting with others – or simply provoke the processes of thought.”
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