Tony Oursler: Imponderable
From June 16, 2016-January 8, 2017 the Museum of Modern Art, New York, will screen Tony Oursler’s film Imponderable—an alternative depiction of modernism that reveals the intersection of technological advancements and occult phenomena over the last two centuries. Presented in a “5-D” cinematic environment utilizing a contemporary form of Pepper’s ghost—a 19th-century phantasmagoric device—and a range of sensory effects, Imponderable is an immersive feature-length film inspired by Oursler’s own archive of ephemera relating to stage magic, spirit photography, pseudoscience, telekinesis, and other manifestations of the paranormal. Imponderable will be shown in conjunction with selections from Oursler’s archive relating to the film.
In Februrary 2015, The Whitworth reopened its doors to the public after a major expansion project by architects MUMA. Before building works began a 3D scan was made of the space that is now occupied by the new extension. The scan included the line of London Plane trees that flank the South side of the building. One of these trees had unfortunately died, and was earmarked to be felled. On Gallaccio's first visit to the site the tree had already gone, leaving a noticeable gap in the avenue. Fascinated by the absence of the tree, she studied the architects digital scans with the hope of making a work in response to its loss:
“Usually I would take an existing object and transform it; not making a copy but a new unique object determined by the form and material properties of the original. I am interested here in using the data to produce a sculpture that is a ghost of the real tree, without being a replica.”
This August, the Olympic Aquatics Stadium will also be enveloped by a work of art by celebrated Brazilian artist Adriana Varejão. Sixty-six panels, each 27 metres high, reproduce Celacanto Provoca Maremoto, an installation displayed at the famous Inhotim Institute in Minas Gerais. It uses Portuguese tiling and a baroque style to mix imagery of the sea and angels. The panels are anti-UV treated to help regulate the building’s temperature. Photo: Rio 2016/André Motta.
Juergen Teller: Enjoy Your Life!
In this exhibition, works like Siegerflieger and My Man Crush, Pep Guardiola transform the Foyer into a public viewing area, where images of victories and defeats bear witness to Teller’s feel for capturing decisive moments. Other groups of works are more autobiographical and occasionally anecdotal: quiet landscapes from Nürnberg, carefully staged yet unsparingly candid images of himself in The Clinic and subjective documentations of his engagement with his youth and his origins such as Irene im Wald. The latest series, Mit dem Teller nach Bonn and Plates/Teller, seem to bring together and concentrate all his earlier themes and compositions. The protagonists’ games with a plate – the German word for plate is Teller, and so the plate acts as a synonym and stand-in for the photographer – are captured in compositions that are as tender as they are exuberant, direct and honest, full of humour and strangely touching. Many of his complex narratives only unfold upon a closer look.
Nari Ward: Smart Tree
Inspired by a building adjacent to the High Line that had been transformed into an indoor parking lot, Nari Ward reconfigures a memory from his childhood for his High Line Commission, Smart Tree. Returning to his father’s home in Jamaica after fifteen years away, Ward remembers finding one of two abandoned cars in the front yard sprouting a lime tree. He reimagines this fantastical story for the High Line in the form of a Smart car refinished with strips of tire treads and propped up on cinder blocks. In place of a lime tree, Smart Tree will feature an apple tree growing out of its roof, adapted out of necessity for its North American context. With the car’s cinderblock base representing stasis, and its coating of tire treads suggesting perpetual movement, Ward’s Smart Tree holds up a mirror to the flux surrounding the High Line itself and reminds viewers of the High Line’s history as a major transportation artery in Manhattan.
Nari Ward: Sun Splashed
From June 22-August 24, The Barnes Foundation will present Sun Splashed, a mid-career survey of the found-object assemblage art of Nari Ward (b. 1963 in St. Andrew Parish, Jamaica; lives and works in New York). Animated by flânerie—the idle, detached observation of street life that 19th-century writers and artists associated with the rise of modern cities—and making reference to African tribal art, Ward’s oeuvre resonates with the Barnes collection and speaks with penetrating insight and imagination to a broad range of subjects, including black history and culture, the dynamics of power and politics, and Caribbean diaspora identity.
Nari Ward: Sun Splashed is organized by Pérez Art Museum Miami Associate Curator Diana Nawi.
Human Interest: Portraits from the Whitney's Collection
Whitney Museum of American Art
Lehmann Maupin is pleased to share that Ashley Bickerton's Triple Self-Portrait: All That I Can Be (1996) is included in Human Interest: Portraits from the Whitney’s Collection. The exhibition offers new perspectives on one of art’s oldest genres. Drawn entirely from the Museum’s holdings, the more than two hundred works in the exhibition show changing approaches to portraiture from the early 1900s until today. Bringing iconic works together with lesser-known examples and recent acquisitions in a range of mediums, the exhibition unfolds in eleven thematic sections on the sixth and seventh floors. Some of these groupings concentrate on focused periods of time, while others span the twentieth and twenty-first centuries to forge links between the past and the present. This sense of connection is one of portraiture’s most important aims, whether memorializing famous individuals long gone or calling to mind loved ones near at hand.
Titled Efêmero, OSGEMEOS' latest mural occupies the two outer walls of Pirelli HangarBicocca’s Cubospace, covering a total area of over one thousand square meters. Efêmero is the first large-scale mural in Italy by Brazilian artists OSGEMEOS, and will remain on view through April 2017.
Kader Attia: Sacrifice and Harmony
Museum Für Moderne Kunst, Frankfurt, Germany
For the exhibition at the Museum Für Moderne Kunst, Kader Attia is developing a new group of works that carry his concept of reappropriation and repair forward. Attia regards the presentation of his works in the museum as a decisive step in the development of his art as an instrument capable of dissolving stereotypes and thought patterns. Sacrifice and Harmony will be on view from April 16-August 14, 2016.
Erwin Wurm was invited to join the DAAD Artists-in-Berlin Programme in 1987. His residence in the city coincided with a period of redefinition in his work. Since the late 1980s he has been exploring the boundaries between sculpture, object and performance.
A key exhibit is the Narrow House, a faithful reconstruction of his parents’ home in every detail, except that the artist has compressed it into a depth of just over a metre. By walking around the house, visitors literally experience the constrictions of provincial life. This work is accompanied by several One Minute Sculptures: instructions invite visitors to adopt unusual poses with the help of everyday objects, turning themselves briefly into a living sculpture. The third section of this exhibition, a comprehensive display of drawings by Erwin Wurm, is in itself a première.
Liu Wei: Panorama
Entitled Panorama, this exhibition provides a comprehensive overview of Liu’s nearly twenty-year career, from the controversial early works to his most recent work site-specifically installed in PLATEAU’s Glass Pavilion. The panorama, signifying the all-encompassing and complete landscape, implies a contradiction that reflects the impossible human desire to visually control and experience everything at once. The fragments that construe Liu’s works inherently hint at the impossibility yet precisely reflect such desire. Through August 14.
EVA International - Ireland's Biennial
For his work Reason’s Oxymoron (2015), an eighteen-channel video installation, Kader Attia created an expansive video library containing interviews with philosophers, ethnologists, historians, psychiatrists, psychoanalysts, musicologists, patients, healers, fetishists, and griots. Each of the volumes is edited under different themes, such as ‘genocide’, ‘totem and fetish’, ‘reason and politics’, or ‘trance’. Taken either individually or as a whole, they offer commentary on psychiatric pathology as perceived in traditional non-Western cultures, on the one hand, and in modern Western societies, on the other. The structure of the work recalls that of an archive that should be read as an essay, without any assumptions. The visitor can stroll in the eighteen offices and decide whether to sit and watch one of the videos or go to the next one.
Erwin Wurm: Ende
Since the 1970s, both Leopold Kogler and Erwin Wurm have been linked by their studies under Bazon Brock and Oswald Oberhuber at the University of Applied Arts, Vienna. While Kogler’s artistic beginnings were in the field of “art without the artist” as well as in (almost Dadaist) object art, Wurm was mainly interested in “new, young, and wild” painting in the field of tension between the object and the picture. While Kogler found his was to painting in the course of the 1980s and is currently dedicated to the production of meticulously made prints, Wurm’s dust sculptures radicalized the sculptural form. In his subsequent works, the same questions of object, space, volumes and picture are still virulently present, whether in his photographical, performative, One Minute Sculptures,” his Fat Cars, or in his deformative, minimalistic architectures and everyday objects with which he became famous.
But a Storm Is Blowing from Paradise: Contemporary Art of the Middle East and North Africa
Solomon R. Guggenheim Museum, New York
Lehmann Maupin is pleased to share that Kader Attia's Untitled (Gharadïa), 2009 is included in the Guggenheim's current exhibition, But a Storm Is Blowing from Paradise: Contemporary Art of the Middle East and North Africa.
But a Storm Is Blowing from Paradise, the third exhibition of the Guggenheim UBS MAP Global Art Initiative illuminates contemporary artistic practices in the Middle East and North Africa and the region’s diaspora. Presenting a selection of newly acquired works for the Guggenheim’s permanent collection, this exhibition will feature installations, photographs, sculptures, videos, and works on paper from a broad selection of artists. The exhibition is curated by Sara Raza, Guggenheim UBS MAP Curator, Middle East and North Africa.
Following its presentation in New York, But a Storm Is Blowing from Paradise will travel to Istanbul’s Pera Museum in 2017.
Do Ho Suh
Museum of Contemporary Art San Diego
This solo exhibition at the Museum of Contemporary Art San Diego by artist Do Ho Suh features work ranging from large-scale architectural installations and sculptures, to works on paper and video. Operating within a distinctly twenty-first century global mode, Suh crafts evocative works that reflect ideas of home, identity, and personal space. March 18-July 4, 2016.
Do Ho Suh: Passage
From February 12-September 11, 2016, the Contemporary Arts Center, Cincinnati, will present a number of Suh’s iconic installations in this exhibition, highlighting these hallucinatory structures as metaphors for the struggle of all peoples to reformulate historical notions of settlement. Suh’s work is intensely responsive to site, and in Passage he will propose a groundbreaking dialog with the now iconic architecture of Zaha Hadid – spoken through the movement of bodies through space. The CAC will also produce the first catalog on the artist to be conceptualized in the U.S.
Catherine Opie: O
In her many photographic projects, Catherine Opie has explored the tension between private desire and the public face. With the O Portfolio, shown at LACMA in its entirety for the first time in a Los Angeles museum, she offers an anatomy of sexual practices that are often obscured from public view. The photographs depict sadomasochistic scenarios derived from her participation in San Francisco’s bondage community.
The project began as a response to Robert Mapplethorpe’s X Portfolio (1978), which featured scenes of gay male sadomasochism. In contrast to Mapplethorpe’s confrontational photographs, Opie presents the subject almost as if it were a faintly recollected dream, or incomplete sense memory. Despite its sexually explicit origins, the portfolio is not necessarily about sex; rather, in Opie words, “It’s about intimacy."
Lehmann Maupin is pleased to share that works by Liu Wei are included in What About Art? Contemporary Art from China at Qatar Museums. The exhibition will open at Qatar Museums’ 3,500-square-meter Gallery Al Riwaq on March 14, 2016 featuring works by 15 living artists and artist collectives born in Mainland China.
Named 2015 United States Artist Fellow
Lehmann Maupin congratulates Mickalene Thomas on winning a 2015 United States Artists fellowship award!
La grande sortie
Alex Prager's most recent film La grande sortie premiered on September 15 as a part of the Paris Opera Ballet's new digital initiative 3e Scène (3rd Stage). The project invites visual artists, filmmakers, composers, photographers, choreographers and writers to create original works relating to and inspired by the Paris Opera Ballet. Click through to watch the full video.
Teresita Fernández has been commissioned for a site-specific installation for Grace Farms', SANAA-designed bulding in New Canaan, CT, titled Double Glass River, which will be unveiled to the public at its opening benefit concert on October 9, 2015. Grace Farms will host a community day on October 10. For more information, click the link below.