All photos by M-KOS.
Richard Nonas installation at McCaffrey Fine Art, NY (Front space); Jessica Warboys at Gaudel de Stampa, Paris (back). Photo: M-KOS
The fifth installment of Independent art fair has once more invested the original spaces of DIA Center for the Arts, on 22nd street in Chelsea, New York City. This cozy location in comparison with other, more expansive fairs, did manage to host a total of 56 galleries from 14 different countries, mixing up big and small-scale commercial galleries as well as non-profit spaces across an interior design conceived by architects Andrew Feuerstein and Bret Quagliara. The most exciting features of this layout included triangular shaped booth to agreeably confuse audiences as to where one gallery presentation ended and another one started. Particularly conducive to opening parties, pop conceptualism and junk fluxus, Independent is the brainchild of Elizabeth Dee and Darren Flook, kept in high spirits by creative adviser Matthew Higgs, who also moonlights as director and chief curator of White Columns in New York. All in all, Independent could rightly claim the title of hip alternative art fair within Armory Week.
Armory Week this year coincided with the opening of the highly anticipated 2014 Whitney Biennial, to add an extra layer of fervor to the usual art spectacle that is New York City at this time of the year. Opened to the public from the 6th to the 9th of March, The Armory Show welcomed the 16th edition of its current incarnation, which changed its name from Gramercy International Art Fair in 1999, as homage to the original 1913 gathering. As always situated on Piers 92 & 94 of Manhattanâ€™s western shore, stretching out onto the Hudson River, the fair hosted 205 galleries (146 for Contemporary, 59 for Modern) across 26 countries. Once again Armory opted to hold their VIP preview and benefit opening at MoMA, perhaps rubbing shoulders with the blue chip institution in a bid to upscale its brand and better compete with Frieze, the London based art fair franchise which started-up two years ago on Randall Island, flanked between Manhattan and Brooklyn.
MKOS is currently on pause whilst traveling to New York for the Armory week. Watch this space soon for our upcoming Art Marathons.
Within the Sound of Your Voice 2014, Courtesy the Office for Curating
26 February â€“ 31 March 2014
Venue: Le 18, Derb el Ferrane â€“ Riad Laarouss, 40000 Marrakech, Morocco
Opening reception: Tuesday 25 February, 18h00
Milena Bonilla & Luisa Ungar, Dina Danish & Gogi Dzodzuashvili, Dora GarcÃa, Morten Norbye Halvorsen, Marcellvs L., Lubomyr Melnyk, Clare Noonan, O Grivo, Daniel Steegmann MangranÃ© & Joana Saraiva, Triin Tamm
Curated by Niekolaas Johannes Lekkerkerk (The Office for Curating, Rotterdam)
and Tiago de Abreu Pinto
Within the Sound of Your Voice is a portable group exhibition at thirty-three rounds per minute. The exhibition is portable, taking the shape of a vinyl record, weighing approximately four hundred and forty grams. The vinyl is protected by a sleeve, which also serves to express and illustrate its contents â€” textually, visually, aesthetically. The sleeve of this exhibition has been designed to incorporate a third dimension: an architecture that can be unpacked and enveloped in another space, becoming a space in and of itself, or a space within a space. The exhibition is comprised of the voices of thirteen artists in the act of speaking, at times indirectly or metaphorically: Milena Bonilla and Luisa Ungar, Dina Danish and Gogi Dzodzuashvili, Dora GarcÃa, Morten Norbye Halvorsen, Marcellvs L., Lubomyr Melnyk, Clare Noonan, O Grivo, Daniel Steegmann MangranÃ© and Joana Saraiva, and Triin Tamm.
Opportunities: Call for applications for artist-in-residency programme in the public space, Casino Luxembourg â€“ Forum d’art contemporain
Treacle (Susanne Kudielka & Kaspar Wimberley), Goldblase, installation in situ sur le rocher du Bock (Huelen Zant) Ã Luxembourg, 2013. Courtesy of the artist and Casino Luxembourg
Call for applications for artist-in-residency programme in the public space
Casino Luxembourg â€“ Forum d’art contemporain
Deadline: 2 April 2014
Packed with precious impressions and enriched with valuable experience from its successful residency programme project room @ aquarium, from 2015 onwards, Casino Luxembourg will move its residency programmeÂ outÂ of its building andÂ intoÂ the public space!
This contextual transfer will allow Casino Luxembourg to be present and get active in the public area on a more regular basis. Sharing the public space will hence be the new challenge, and therefore Casino Luxembourg is looking for artists whose practice is familiar with the notions of public space be it e.g. through site-specific interventions or community involvement.
This new residency programme will be designed so as to provide a maximum flexibility for the working artist and to offer the best possible conditions with regard to the realisation of each project. To get acquainted with Luxembourg’s public space, a five-day “taster” visit of Luxembourg will be scheduled in October 2014 for the two laureates. Subsequently, each will be requested to develop a first outline of their project for Luxembourg by December 2014. The residency periods (between six and eight weeks) will be settled according to the very specific needs of the projects.
Dean Hughes, Windowless work, 2013. wood, dyed calico and thread. 64 x 42 x 4.5 cm, 2013. Courtesy the artist and Maria Stenfors, London
24 January â€“ 8 March 2014
at Maria Stenfors
â€œthe art of making knots, which is the peak of both mental abstraction and manual work, could be seen as the human characteristic par excellence, just as much and perhaps even more than languageâ€¦â€ â€“ Italo Calvino
In his first exhibition at Maria Stenfors, Dean Hughes introduces a new series comprised of hand dyed, stitched calico shapes composed upon identical wooden slats. Calico, being unbleached and not fully processed, absorbs colour easily into the threads of equal weft and warp. Once the fabric is saturated with dye, it does not return to its original flat and uniform appearance and shows the definition and contours of the lines of dots and dashes that constitute the fabric. The geometry is allowed to relax and demonstrate the nature of the material. The work does not focus on its physicality but what the material reveals.
HeHe, Nuage vert, Saint-Ouen, 2009. Inkjet print on dibond. 120 x 120 cm. Ed. of 3. Courtesy of Aeroplastics contemporary, Brussels
16 January â€“ 15 March 2014
at Aeroplastics contemporary, Brussels
The duo HeHe (Helen Evans, 1972 and Heiko Hansen, 1970) personifies a new generation of artists who create a link between the sphere of technological/digital art (too self-referential, and frequented solely by the initiated), and that of contemporary art (reluctant to accept new modes of expression based on subverting new informational/communicational technologies). Each of these spheres has developed its distinct circuits of communication and â€˜diffusionâ€™, and common points of contact between the two remain rare. Read more
Aidan Pontarini, Iâ€™ve Been Spilt Purgatorial Entrails, 2013. Oil & acrylic on canvas. 72 x 96 inches. Courtesy the artist.
AIDAN PONTARINI â€“ THE AMBIVALENT SPACES OF ABJECTION
by Adam Gill
In the Powers of Horror: An Essay On Abjection, psychoanalyst Julia Kristeva notes that in death the corpse, once a lived and expelling body, has itself become expelled from language or the symbolic. No longer possessing the capacity to signify coherent identity as an â€œIâ€, the corpse presents a threat to notions of stable subjectivity within a system of signification and social relations where such stability is consistently reinforced. One may consider the title of Montreal based artist Aidan Pontariniâ€™s solo exhibition at Galerie LOCK, Death is Short, Life is Long, with this in mind as it not only touches on abjection at the level of the corpse as object, as thematic device, but as a continually operating condition of the lived subject, haunting its presumed sense of togetherness. Consisting of paintings, drawings and one sculpture, Death is Short, Life is Long offers the visitor a collection of abject imagery in terms of content, the liminal â€œshitâ€ at the threshold of what is socially acceptable, that which we expel but is also part of us, the repressed but inevitably present.