Toronto’s Power Plant is currently presenting Continuous Coverage, an exhibition by Berlin based Israeli artist Omer Fast showing three of his most significant projects spanning the last decade: CNN Concatenated (2002), 5,000 Feet is the Best (2011) and Continuity (2012). Canadian Art mag talked to the artist during his visit in Toronto.
David Roberts Art Foundation – one of London’s top private collection-based foundations – relocated from the increasingly buzzing area of Fitzrovia to more spacious accommodations in Mornington Crescent, Camden inaugurating with the exhibition The House of Leaves. Lorena Muõz-Alonso asks the curator Vincent Honoré (part 1 & 2) about DRAF’s new move and future vision.
Hugues Charbonneau, former front man of Galerie Division in Montreal has opened his own space in the Belgo gallery complex building (Espace 308, 372 Ste-Catherine, Montreal) with its inaugurating show by painter Jean-Paul Pouliot. huguescharbonneau.com
In the latest issue of Art Asia Pacific, the curator Hou Hanru shares his thought on “A Third Way†for a new model for the art world as: “some kind of in-between system, between the state-dominated models of the previous century and the capitalist-dominated models of today.†He points out that the role of independent organizations should be crucial. “We need a new strategy because not only are the old models not working, but the traditional form of revolution is not working either. The question is how to generate independent ideas and develop in-between spaces in our increasingly complex societyâ€
For the occasion of the forthcoming USA election, Frieze asked selection of artists, curators and writers to answer the same four questions: What constitutes political work of art? Has there been any resurgence of politics in the art world? What examples of political art have you come across? Is political art about preaching to the converted? Part 1 (responses from Nato Thompson, Chief curator of the Creative Time in New York; Carolyn Christov-Bakargiev, Artistic Director of dOCUMENTA (13); Oliver Ressler, artist and filmmaker based in Vienna; Helen Molesworth, the Barbara Lee Chief Curator, Institute of Contemporary Art, Boston) and Part 2 (responses from Gregory Sholette, artist, activist and author based in New York; Harrell Fletcher, artist and Associate Professor of Art and Social Practice at Portland State University in Portland, Oregon; Anja Kirschner & David Panos, artists who live and work in London, UK; Max Andrews, co-director of the curatorial office Latitudes in Barcelona, Spain) are available to read on Frieze blog.
Singapore has established reputation as a hub for contemporary art in Asia together with Hong Kong over last decade. On 14 September opened Gillman Barracks, a new contemporary art destination in Asia housing thirteen contemporary art galleries from Singapore, Indonesia, Philippine, China, Korea, Japan, Germany and Italy, as well as artist studios, residences and office spaces for creative industries in addition to restaurants, all with the help of $8M in funding from the government of Singapore.
The Met opened “Regarding Warhol: Fifty Years, Sixty Artists†on 18 September. NY’s own art critic couple Roberta Smith and Jerry Saltz, both gave a big slap on the Met’s latest exhibition (“the Met has a long way to go where contemporary art is concerned.†[by RS for the NY Times] “Regarding Warhol has the unusual distinction of being a very bad show with very good work†[by JS for the NY Magazine]).
Biennale report:
Vernissage TV shows a walk-through of the 30th São Paulo Biennial, entitled A Iminência Das Poéticas (The Imminence of Poetics.
Curator Pablo Leon de la Barra posted a photoset of the São Paulo Biennial on his blog Centre for the Aesthetic Revolution
Japanese-English bilingual mag ART iT reports from the 9th Gwangju Biennale 2012 in photoset (part 1, 2, 3)
Image credit: Omer Fast, 5,000 Feet Is The Best, 2011. Video still. Courtesy the artist | Installation View. Kris Martin, Mandi VIII, 2006; Matthew Day Jackson, April 10, 1964, 2011. Courtesy of DRAF | Hugues Charbonneau in his new gallery. Photo by Pedro Ruiz, Le Devoir | Illustration by Kang Joon Mo | Image courtesy of Frieze blog | Image via Artitute | Exhibition view at the Met. Photo by Librado Romero, The New York Times | Image via Centre For the Aesthetic Revolution | Tintin Wulia, Nous ne notons pas les fleurs, Fort Ruigenhoek, 2011, Game performance and installation view, Courtesy of the Artist and Kaap/Stichting Storm.