Zachary Formwalt, In Place of Capital, 2009. single-channel HD video still. Courtesy the artist.
2 November – 21 December 2013
at VOX centre de l’image contemporaine,
Capital Imagery and the Traces of the Living
The Latin-derived term capital (as echoed in “capital crime” or “capital punishment”) refers to a crime for which one has to pay with one’s life, or more literally (going back to the original caput) one’s head. Also in the Marxist sense of the term and in Marx’s own metaphor, as coagulated “living labour,” or, more explicitly, “dead labour,” capital is linked to death in various ways.
Along these lines, Zachary Formwalt’s reflections on the history of photography are dealing with various forms of capital imagery as well. His materialist approach to the history of photography—embedding the successive development of the medium in the histories of finance, capital accumulation, and urban development—not only emphasizes photography’s structural analogies with the history and development of capital (the effect that the development of capitalism, economic crises, the stock market, bankers, etc. have played in it); it also points to the potential of photography as a space for that which it tends to repress: moving, acting, and productive bodies.
Patrick Jackson, ‘The Third Floor’ installation view 2013. Courtesy the artist and François Ghebaly Gallery, LA
The Third Floor
9 November 2013 – 11 January 2014
at François Ghebaly Gallery, LA
For this exhibition Jackson has installed scaffolding that divides the gallery into three levels. Each floor is installed to different effect, creating an ominous and psychologically loaded space.
The basement level is set with a variety of oversized ceramic vessels. Most have a black cracking glaze that looks similar to burnt wood, but the giant mugs of the group come in an intense variety of colors, textures and patterns. Each mug holds an assortment of things, such as dirt clumps, soda colored epoxy and resin crystals.
Künstlerhaus Dortmund. Photo: Hannes Woidich
at Künstlerhaus Dortmund, Germany
Deadline: 31 January 2014
Residency period: 6 to 8 weeks from June to August upon mutual agreement
Since 2005 Künstlerhaus Dortmund offers artists from abroad: the summer Artist-in-Residence Program from June until August. Foreign artists from every field of visual arts and without restriction of age can apply. Read more
Haig Aivazian, At every sunset, I think of you. Not because of some sense of beauty, but simply because I become acutely aware of how much time has passed since I last saw you, 2013. Charcoal and pastel on paper. 200 x 130 cm. Courtesy of the artist and Sfeir-Semler Gallery, Hamburg/Beirut
2 November 2013 – 5 January 2014
at Sfeir-Semler Gallery, Hamburg
Haig Aivazian (b.1980 Beirut) presents new sculptures, drawings and videos from his ongoing series Fugere, where the artist layers various histories of violence: from a highly televised rebuttal in response to racist insults on the pitch, to the occupation of inner-city neighbourhoods by police; and from the ascension onto an Olympic podium in the first post Soviet Games, to the weight of a dictator’s body as the trap door is released under his feet. History is not just entangled in sports, but also treated like a match, with freeze frames, replays and reverse angles. Here, the notion of time is malleable: the decades separating the release of two models of coveted basketball sneakers can be condensed into a frantic instant where two shoes are hurriedly thrown at an occupying president. Read more
Nicolás Lamas, Ball, 2013 Rubber and felt. Courtesy the artist and Meessen De Clercq, Brussels
8 November – 7 December 2013
at Meessen De Clercq, Brussels
Shown for the first time in a solo exhibition in Europe, Nicolás LAMAS (b.1980) occupies the first floor of the gallery. The work of the young Peruvian artist based in Belgium is based on a process reflection about space, time, culture and science. Exploring different scientific fields such as astronomy or physics, Lamas formalizes his questioning using various media, playing on codes of monstration, comparing objects which seem a priori to be opposites, to elicit meaning and drama. This investigation, sometimes taken to absurd lengths, undermines measurement systems that govern our daily lives and literally challenges the exhibition space. Read more
Michel Aubry, Mise en musique du Kiosque de Melnikov, 1925-2009. Installation view. Photo : © André Morin / le Crédac. Courtesy de l’artiste et Galerie Eva Meyer, Paris. — at Centre d’art contemporain d’Ivry – le Crédac.
20 September – 15 December 2013
at Le Crédac, Centre d’art contemporain d’Ivry
Michel Aubry has carried out a programmatic body of work for some twenty years now. It has him often interpreting objects or earlier artworks that are emblematic of modernity but using a formal idiom that springs from different handicrafts (including instrument and cabinet making, costume design and upholstery). The process of crafting the object is central to his art and is governed by a production protocol that subverts the relationship between the original and the copy.
Harold Offeh, Covers: After The Rolling Stones, Exile on Main Street, 1972 (3 Balls) 2013 c-print. Courtesy the artist and Maria Stenfors, London
15 November – 21 December 2013
at Maria Stenfors, London
Opening: Thursday 14 November 2013, 6.30 – 8.30 pm
Gabriel Acevedo Velarde
Curated by Nathan Jenkins
We receive it, we feel it, we embody it.
Receive, feel, embody.
The reading of an artwork is a multifaceted one, incorporating voluminous layers of referencing. In the percept of object, how intrinsic is the maker’s own life to our reading? Our reading rings true with empathy. We attach to biographical stories by our own experiences, our memory. The imagination is superb at filling in gaps, and functions through an anthropophagic alchemy of imagining and knowledge. Building on existing images; eating, digesting and assimilating them, to form a new hybridisation.
Michel de Broin, Overpower, 2013. cast bronze, light bulb, electricity, transformer, circuit. Courtesy bitforms gallery nyc. Photo: John Berens
Michel de Broin
24 October – 7 December 2013
at bitforms gallery, New York
Michel de Broin is best known for interventions and his refunctionalization of utilitarian objects. Rooted in conceptual premises, de Broin’s work generates unexpected levels of complexity from found objects and physical juxtapositions. Established modes of signification are left behind, yielding retooled technological environments and new possibilities for public space. At times, his ingenuity can be nearly indiscernible upon first glance, appearing as a puzzle for the viewer to complete. For example, “Shared Propulsion Car” is a human powered 1986 Buick Regal that de Broin modified furtively. During the Exit Art biennial in 2005, this revolutionary work was driven through Manhattan, presenting challenges to mid town traffic, despite its petrol free combustion.
Athanasios Argianas, Consonants As Noise (foam consonants), 2013 (detail). Copper plated sea sponges and steel (Installation view at Aanant & Zoo, Berlin) Photo credit: Jan Brockhaus. COurtesy the artist and On Stellar Rays, NY
2 November – 15 December 2013
at On Stellar Rays, New York
Athanasios Argianas’s work occupies a space between mediums: sculptures become scripts for performances, or arrangements for songwriting, or vice versa. Although his works are often based on translations — or transcriptions — of aural, visual, or textual layers, the systems he creates are open and intuitive, stemming from a genuine curiosity for experimentation rather than a predetermined, result-oriented idea. Accordingly, this exhibition is conceived as a play on indeterminacy, contingency, and the attempt to let the work be shaped by situations beyond the artist’s control.
UNESCO-Aschberg Bursary Program for Artists
at Dar al-Ma’mûn in Marrakech, Morocco
Duration of residency: 3 months during the year 2014
Dates: To be determined
Eligibility: Visual artists, age between 25 – 35 yrs old, from all countries except Morocco
Deadline: Wednesday 20 November 2013 (23h00, Moroccan Time)
Dar Al-Ma’mûn is an artists residency founded by the Ithaque guest house complex located in the Ourika green valley near Marrakesh. Dar Al-Ma’mûn brings a wealth of cultural activities (an exhibition space, a library of over 10,000 books in Arabic and French, a literary translation research centre, cultural and educational activities for children and adults). Dar Al-Ma’mûn is a creating a platform whose purpose is to develop intercultural exchanges and strengthen the contribution of Ithaque’s economic and local social development. Dar Al-Ma’mûn is open to artists of all practices: drawing, painting, sculpture, video, photography, performance.