Tag Archives: Installation

Ciprian Muresan “All that work for nothing! That’s what I try to do all the time!” at Galeria Plan B, Berlin

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Image courtesy of the artist and Galeria Plan B, Berlin/Cluj

Ciprian Muresan
All that work for nothing! That’s what I try to do all the time!

26 April – 1 June 2013
at Galeria Plan B, Berlin

“We have been somewhat reluctantly learning that art does not go anywhere, really; instead it dances attractively in the whirlpool of circular time. Widespread referentiality in contemporary art finds justification in that. Since the beginning of his career, the Romanian artist Ciprian Muresan has been particularly generous to gallery goers (and commentators) by often pushing his references into their face. He approaches iconic figures and images of mainstream discourses of art with the profanity of a street urchin, masking his deeper interest in philosophical paradoxes.

The four works, new or recent, on display in the exhibition all have to do with frustration. Scented with the trademark irony of the artist, they disrupt the processes of perception and reflection creating a minimalist adventure park with tasks flirting with the impossible.
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Etienne Chambaud “The Naked Parrot” at Labor, Mexico City

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Etienne Chambaud, The Naked Parrot, 2013. Installation view. Courtesy the artist and Labor, Mexico City

Etienne Chambaud
The Naked Parrot

9 April – 1 June 2013
at Labor, Mexico City

The Naked Parrot, the first addressee of the eponymous exhibition at Labor, is a modern chimera, a being fully constructed from the outside. Here this construction is not based on mythological grounds or scales, but on the very process of creation of figures that we inherited from modern machines such as the zoo and the museum. Domestication and conservation are indeed stitching techniques that endlessly attempt to heal the wound of the cuts their very existences are based on. The Naked Parrot is thus an assemblage of exogenous intentions collapsing on their sutured understandings and misunderstandings: the idea of a human talking animal in a falling pigeonhole.
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Adrian Paci “Lives in Transit” at Jeu de Paume, Paris

AdrianPaci_Center of temporary permanence_2007_564Adrian Paci, Centro di Permanenza Temporanea (Center for Temporary Permanence) 2007. Video still. Courtesy kaufmann repetto, Milan and Galerie Peter Kilchmann, Zürich © Adrian Paci 2013

Adrian Paci
Lives in Transit

26 February – 12 May 2013
at Jeu de Paume, Paris

The work of Adrian Paci (born in 1969 in Albania) underlines one of the paradoxes of human intelligence, which consists of becoming aware of reality through irreality. Often inspired by subjects close to him, stories arising from his everyday life, Adrian Paci lets them slide poetically towards a fiction, which in its turn creates one or more wider realities. The exhibition at the Jeu de Paume gathers extremely diverse works (videos, installations, paintings, photographs and sculptures) made since 1997 and shows the numerous interconnections that operate between these different media and means of expression.
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Reaching 100 (Or The End of an Era) at Parker’s Box, Williamsburg, NY

"Reaching 100" opening at Parker's Box
Entrance to, Reaching 100, with paintings by Philippe Nuell. Photo by Etienne Frossard. Courtesy of Parker’s Box NY

Reaching 100 (Or The End of an Era)
13 April – 5 May 2013
at Parker’s Box, Williamsburg, NY

Artists: Ophir Agassi, Beatriz Barral, Virginie Barré, John Bjerklie, Matt Blackwell, Willard Boepple, Steven Brower, Denis Castellas, Jason Glasser, Patrick Martinez, Philippe Nuell, Bruno Peinado, Mike Rogers, Stefan Sehler, Joshua Stern

This exhibition is dedicated to Nancy Grumbacher (1946-2013)

This will be the gallery’s one hundredth exhibition since it opened its doors in June 2000, and it will be the last in the gallery’s original location on Grand Street in Williamsburg. We hope to re-emerge somewhere soon with a new model, new energy and new ways to promote the best experimental contemporary art.

Parker’s Box has always endeavored to curate challenging exhibitions often involving exploration of some of the more rarefied regions of contemporary art practice, whether in painting, sculpture, video, installation etc. As a commercial gallery, Parker’s Box has always taken pride in making no concessions to that status, in favor of allowing artists a platform of complete freedom on which to experiment.
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Rayyane Tabet “The Shortest Distance Between Two Points” at Sfeir-Semler Gallery, Beirut

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Rayyane Tabet, The Shortest Distance Between Two Points, installation view, 2013. Courtesy the artist and Sfeir-Semler Gallery, Beirut

Rayyane Tabet
The Shortest Distance Between Two Points

4 April – 20 July 2013
at Sfeir-Semler Gallery, Beirut

A line is a construction of distance – in space, in time, in vision. It gives definition to form and position through connection and separation.

The Trans-Arabian Pipe Line Company was established in 1946 as a joint venture between Caltex, Esso, and Mobil. TAPLine was formed to build and operate a 1213 kilometer long 78 centimeter wide steel tube to transport oil through land. With this endeavor the company described three intersecting lines – an arc of history, geography, and geometry.
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Carlos Amorales “Germinal” at Museo Tamayo, Mexico City

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Carlos Amorales, Amsterdam, 2013. Video still. Courtesy the artist and kurimanzutto, Mexico City

Carlos Amorales
Germinal

21 March – 21 June 2013
at Museo Tamayo, Mexico City

This exhibition presents a new stage in the work of Carlos Amorales, which departs from the creation of a new language. It is originated in the condensation and fragmentation of the images part of his Liquid Archive.
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From the M-KOS archives: Marcel Dzama interview

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Marcel Dzama, The Queen’s Ghost Vanish’d From Our Sight, 2013. Ink, gouache, and graphite on piano paper (2 scrolls) Courtesy of the artist and David Zwirner Gallery, NY/London

To underline Marcel Dzama’s current exhibition Puppets, Pawns, and Prophets at David Zwirner in London until 11 May, M-KOS is posting once more its interview recorded with Dzama in 2011, when he visited Montreal for the screenings of his “A Game of Chess” (2011) and “Death Disco Dance” (2011) videos at POP festival. For this latest exhibition at Zwirner, Dzama shows new drawings, sculptures and videos that include “Death Disco Dance” as well as the more recent “Sister Squares” (2012), considered the sequel to his “A Game of Chess” video. In the following interview, although already one and a half years old, Dzama talks about how the making of Death Disco Dance, and the influence of Marcel Duchamp that is undoubtedly manifested in many of his work.
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Niall McClelland “The Nature Of Your Oppression Is The Aesthetic Of Our Anger” at Clint Roenisch Gallery, Toronto

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Niall McClelland, We Lost The War, 2013. Metal, plastic, rubber and fabric. Courtesy the artist and Clint Roenisch Gallery, Toronto

Niall McClelland
The Nature Of Your Oppression Is The Aesthetic Of Our Anger

8 March — 13 April 2013
at Clint Roenisch Gallery, Toronto

Over the last five years Niall McClelland has built up a diverse body of work that mines the veins of arte povera, punk rock and urban minimalism. It is just as often started outdoors, left on a fire escape all winter, baked on a dock all summer or folded into his pockets, nabbed through a 3am hole in a fence, as it is made in the studio in explosive clouds of mercury dust and flying glass. There is certainly an alchemical aspect involved: from the crudest materials comes beauty and elegance, hungover on the surface, left like scars. Texture reigns. And process. Both run through his various series, the Tapestries, Skins and Stains to name a few. Often economic circumstance begats the best results, like the thrown-out toner cartridges scavenged from the back of Dufferin Mall. Read more »

Michael Maranda “ARTFORUMx” at Artexte, Montréal

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Michael Maranda, ARTFORUMx, 2012. Courtesy of the artist and Arttexte

Michael Maranda
ARTFORUMx

7 February – 25 May 2013
at Artexte, Montréal

ARTFORUMx is an installation that sustains a critical re-reading of the Artforum magazine. The project makes use of a colour coding system that recalls both hard-edge modernist painting and the quantitative methods employed in sociological analysis. The colours in ARTFORUMx reveal the number and size of advertisements placed in the magazine from June 1962 to the summer 2010 issue. Five summary volumes accompany the exhibition, in addition to a series of watercolours.
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Séripop “This Peculiar Bias Will Nonetheless Set Up A Vast Field For The Unforeseen” at Galerie Hugues Charbonneau, Montréal

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Séripop, This Peculiar Bias Will Nonetheless Set Up A Vast Field For The Unforeseen, 2013. Installation view. Courtesy the artists and Galerie Hugues Charbonneau, Montréal. Photos by Éliane Excoffier

Séripop (Yannick Desranleau & Chloe Lum)
This Peculiar Bias Will Nonetheless Set Up A Vast Field For The Unforeseen

6 March – 6 April 2013
at Galerie Hugues Charbonneau, Montréal
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