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Renaud Auguste-Dormeuil: INCLUDE ME OUT at Musée d’art contemporain du Val-de-Marne, Vitry-sur-Seine, France

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Renaud Auguste-Dormeuil, Elk’s Rest, 2012. Installation, wood and various materials, 250 x 120 x 120 cm. Courtesy of the artist and
Galerie In Situ / fabienne leclerc, Paris.

Renaud Auguste-Dormeuil
INCLUDE ME OUT
26 October 2013 – 19 January 2014
at Musée d’art contemporain du Val-de-Marne,
Vitry-sur-Seine, France

“INCLUDE ME OUT” is constructed around a simple, yet essential question: is it Time going through us, or are we going through Time? Although Time is calculable, it is, by essence, ineffable. How can we translate the experience of the elasticity of Time? The exhibition unfolds like a initiatory trip, taking the visitor through the artist’s recent creations and key works. Upon entry, one is invited to abandon their certitudes and dwell in a zone of doubt, the territory of art. From darkness to the light and back again, the question of blindness is broached. What do we see? How do we see? How can we represent the unshowable? Auguste-Dormeuil’s works mark steps in a circuit through territories of suspense, like so many tools for analysis. They are the plastic representations for reflection and the questioning of our relationship with reality.
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Elena Damiani and Frauke Dannert: All The Pieces, Back Together at Selma Feriani Gallery, London, UK

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Elena Damiani and Frauke Dannert: All The Pieces, Back Together 2013 Installation view. Courtesy the artists and Selma Feriani Gallery, London

Elena Damiani and Frauke Dannert
All The Pieces, Back Together
29 November 2013 – 18 January 2014
at Selma Feriani Gallery,
London, UK

Curated by Niekolaas Johannes Lekkerkerk

The exhibition will revolve around commissioned and recent works from the artists’ practices, focusing specifically on the possibilities of expanding collage into the space of sculpture and installation. In that, the exhibition is sought to comment on the fragmented nature of collage, in the light of its potential dimensionality when thought and approached spatially, architecturally. In so doing, the works themselves, rather than the gallery space, will become the support structure and stage for a more immersed and cinematic way of looking at fragments, materials and objects that become sequences within a comprehensive, all–encompassing environment. Continue reading “Elena Damiani and Frauke Dannert: All The Pieces, Back Together at Selma Feriani Gallery, London, UK”

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Patrick Jackson “The Third Floor” at François Ghebaly Gallery, LA

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Patrick Jackson, ‘The Third Floor’ installation view 2013. Courtesy the artist and François Ghebaly Gallery, LA

Patrick Jackson
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.
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Haig Aivazian “Fugere” at Sfeir-Semler Gallery, Hamburg

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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

Haig Aivazian
Fugere
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. Continue reading “Haig Aivazian “Fugere” at Sfeir-Semler Gallery, Hamburg”

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Nicolás Lamas “Reference Points” at Meessen De Clercq, Brussels

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Nicolás Lamas, Ball, 2013 Rubber and felt. Courtesy the artist and Meessen De Clercq, Brussels

Nicolás Lamas
Reference Points
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. Continue reading “Nicolás Lamas “Reference Points” at Meessen De Clercq, Brussels”

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Michel Aubry “The Searchers” at Le Crédac, Ivry-sur-Seine

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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.

Michel Aubry
The Searchers
20 September – 15 December 2013
at Le Crédac, Centre d’art contemporain d’Ivry
Ivry-sur-Seine, France

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.
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Athanasios Argianas “A Sequencer*” at On Stellar Rays, New York

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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

Athanasios Argianas
A Sequencer*
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.
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Roxy Paine “Apparatus” at Kavi Gupta, Chicago (Elizabeth St.)

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Roxy Paine, Apparatus, 2013. Installation view. Courtesy the artist and Kavi Gupta, Chicago/Berlin

Roxy Paine
Apparatus
20 September – 20 December 2013
at Kavi Gupta, Chicago (Elizabeth St.)

Roxy Paine’s work has challenged the perception of visual language and how it affects the understanding of our environments since the genesis of his career in the early nineties. Focusing on objects and their fabrication, Paine strives to evoke a desire to understand how meaning can transcend through time, using our conventional relationships with the visual as an anchor for the exploration of truth. Paine’s contemplative work has ventured into two distinct, yet related, avenues of artistic production. Highly acclaimed for his synthetic replicas of organic forms such as fungi and trees, intricately executed with impressive mastery and ingenuity, and his computer-driven machines programed to auto-produce works of art, Paine presents a complex arena where the balance between what we know to be true and what we can learn from a deeper contemplative observation is considered. A truth dependent on our willingness to accept the beauty in the imperfections within nature and language itself, a balance in paradoxical poetics.
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Lilah Fowler “Passage and Pair” at Maria Stenfors, London

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Installation view. Courtesy the artist and Maria Stenfors, London

Lilah Fowler
Passage and Pair
4 October – 9 November 2013
at Maria Stenfors, London

Opening: Thursday 3 October, 6.30 – 8.30 pm

Just as reading a text is a journey from start to finish, the reading of an artwork and exhibition is dictated by the same process. Lilah Fowler’s exhibition invites us to explore our relationship to space and our experience of it, the passage of moving through a physical space and experiencing its proportions and elements. Separate elements are disassociated from their original context, creating an unexpected pairing of matter and material. The forced arrangement of space rendering the familiar unfamiliar.
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Christopher Kulendran Thomas “When Platitudes Become Form” at Mercer Union, Toronto

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Christopher Kulendran Thomas, When Platitudes Become Form. Courtesy the artist and Mercer Union

Christopher Kulendran Thomas
When Platitudes Become Form
6 September – 12 October 2013
at Mercer Union, Toronto

Through his ongoing enterprise When Platitudes Become Form Christopher Kulendran Thomas reconfigures artworks by some of Sri Lanka’s most celebrated young artists purchased through the new contemporary art gallery scene in Colombo. The dislocation of artworks from one context to another, rather than operating as a seamless transition, is problematised by Thomas who mobilises current aesthetic tropes to translate contemporary art’s mimetic forms from the West. Contemporary art rather than universal becomes a language as material form translated from one context to another.
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