ArtMarathon: Independent art fair [Slide show]

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Kirsten Pieroth, The New York Times, Sept. 2010 at Galleria Franco Noero, Turin

Galleria Franco Noero, Turin

Aftermath of John Bock's performance at Sprüth Magers, Berlin/London

Amy O’Neill at Karma, NY

Roman Signer, Piano, 2011 at Art : Concept, Paris

Roman Signe at Art : Concept, Paris

Kaufmann Repetto ,Milan/NY (left) and Andrew Kreps Gallery (right)

Paul Lee at joint space by Maccarone, NY and Modern Art, London

Stefan Müller at Galerie Nagel Draxler, Berlin

Julia Wachtel at Elizabeth Dee, NY

Fredrik Værslev at Gió Marconi, Milan

The Approach, London

House of Gaga, Mexico DF

White Columns, NY

Amy Sillman's postcard racks at Campoli Presti, London/Paris

Michael Dean at Herald St., London

Richard Nonas installation at McCaffrey Fine Art, NY (Front space); Jessica Warboys at Gaudel de Stampa, Paris (back).

Andra Ursuta at Ramiken Crucible, NY

Klara Liden at Galerie Neu, Berlin

Oliver Osborne at Vilma Gold, London

Fair view.

Artists Space Annual Edition Portfolio 2014 in Laurence Weiner designed box at Artists Space, NY

Josh Kolbo at Société, Berlin

Sofia Hulten (Standing piece) and Ivan Seal (Paintings) at RaebervonStanglin, Zürich

Fair view.

Lounge Café and bookshops include Moose Publishing on the top floor

All photos by M-KOS.

Art Marathon: Independent art fair

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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.
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Art Marathon: The Armory Show 2014 [Slide Show]

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Serge Alain Nitegeka at Marianne Boesky Gallery, NY

Nathan Mabry and Thomas Fougeirol at PRAZ-DELAVALLADE, Paris

David Diao, Barnet Newman: Paintings in Scale (Updated), 2010 at Postmasters Gallery, NY

William Powhida at Postmasters Gallery, NY

Alicja Kwade, In-Fluence, 2013 at i8 Gallery, Reykjavík

John Giorno, It Doesn't Get Better, 2012 at Max Wigram Gallery, London

Adam Helm's work at GRIMM, Amsterdam

Urs Fischer at Galerie Eva Presenhuber, Zürich

Spencer Finch, 102 Colors from My Dreams, 2002 at Lisson Gallery, London

Mel Boucher, Chuckle, 2014 at Two Palms, NY

David Adamo, Untitled (Erasers), 2014 at Galerie Rudolphe Janssen, Brussels

Fernanda Gomez ar Alison Jacques Gallery, London

Joseph Beuys at Sean Kelly Gallery, NY

Miriam Bölm at Ratio 3, San Francisco

Alyson Shotz, Topographic Iteration III, 2013 (top); Recumbent Fold, 2013 at Carolina Nitsch Gallery, NY

Alfredo Jaar, Gesamtkunstwerk, 1988 at Galleria Lia Rumma, Milan/Napoli

Kris Martin, 1 Thing is certain - Friedrich Nietzsche is dead, 2013 at Sies + Höke, Düsseldorf

Ed Templeton at Tim van Laere Gallery, Antwerp

Pommery Champagne Bar

Michelangelo Pistoletto at Galleria Continua

Oscar Murillo at David Zwirner, NY/London

Charlie White, Naked Girl Reclining, Looking Towards Camera, 2014 at Looke Gallery, Berlin

Andréhn-Schiptjenko (Stockholm)'s booth

Karin Sander at Galerie nächst St. Stephan Rosemarie Schwarzwälder, Vienna

Artforum Lounge

Chris Martin, Cherry Tree, 2013 at Galerie Rudolphe Jenssen, Brussels

Peter Halley at Galerie Forsblom,

Yayoi Kusama at Victoria Miro Gallery, Lodnon

Andrew Ohanesian, Oceans, 2013 at Pierogi, NY

Andrew Ohanesian, Dollar Bill Accepter, 2014 at Pierogi, NY

Davide Balua, Untitled (Guggenheim Painting), 2013 at François Ghebaly Gallery, LA. Courtesy François Ghebaly Gallery via Artsy

Kraus Merkel at Galerie Max Mayer

Elena Del Rivielo at Galerie Elvíla Gonzalez, Madrid

October Gallery, London

Aiko Hachisuka at Eleven Rivington, NY

Atsushi Kaga at mother's tankstation, Dublin

Kerlin Gallery

Bill Viola at Blain | Southern, London

Cory Arcangel at Lisson Gallery, London

Tony Ousler at Galerie Forsblom, Helsinki

Carl Johan Högberg at Galerie Ron Mandos, Amsterdam

Joep van Lufland at Galerie Gelb +Lehman

Arian Kang at Bryce Wolkowitz Gallery, NY

Iván Navarro, Clamoras en Vano, 2013 at Galerie Daniel Templon, Paris

Parkett edition

Armory Focus: China, Nadim Abbas, Zone (1), 2014 at Gallery Exit, Hong Kong

Artists collective Double Fly Art Center strolling together inside the venue.

Armory Focus: China – Space Station, Shanghai

Armory Focus: China – Wang Yuang at Pekin Fine Arts, Beijing

Armory Focus: China – Liang Shuo at Gallery Yang, Beijing

Armory Focus: China – Liang Shuo, Fit No. 8, 2014 at Gallery Yang, Beijing

Armory Focus: China – Qiu Zhijie at Tianrenheyi Art Centre, Zhejiang

Armory Focus: China – Jin Feng, series "Socialist Leaders" at Tianrenheyi Art Centre, Zhejiang

Armory Modern: Whitestone Gallery, Tokyo

All photos by M-KOS except where mentioned.

Art Marathon: The Armory Show 2014

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Photo: M-KOS

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 Manhattan’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.
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Pause

PAUSE

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 – Parallel Project for the 5th Marrakech Biennale

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Within the Sound of Your Voice 2014, Courtesy the Office for Curating

Within the Sound of Your Voice
– Parallel Project for the 5th Marrakech Biennale

26 February – 31 March 2014
Venue: Le 18, Derb el Ferrane – Riad Laarouss, 40000 Marrakech, Morocco

Opening reception: Tuesday 25 February, 18h00

Participating artists:
Milena Bonilla & Luisa Ungar, Dina Danish & Gogi Dzodzuashvili, Dora García, Morten Norbye Halvorsen, Marcellvs L., Lubomyr Melnyk, Clare Noonan, O Grivo, Daniel Steegmann Mangrané & 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 — 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 García, Morten Norbye Halvorsen, Marcellvs L., Lubomyr Melnyk, Clare Noonan, O Grivo, Daniel Steegmann Mangrané and Joana Saraiva, and Triin Tamm.
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Opportunities: Call for applications for artist-in-residency programme in the public space, Casino Luxembourg – Forum d’art contemporain

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Treacle (Susanne Kudielka & Kaspar Wimberley), Goldblase, installation in situ sur le rocher du Bock (Huelen Zant) à Luxembourg, 2013. Courtesy of the artist and Casino Luxembourg

Call for applications for artist-in-residency programme in the public space
Casino Luxembourg – Forum d’art contemporain

Deadline: 2 April 2014

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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 programme out of its building and into 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.
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Dean Hughes at Maria Stenfors, London

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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

Dean Hughes
24 January – 8 March 2014
at Maria Stenfors
London, UK

“the 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 language…” – 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.
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HeHe: Anthroposphere at Aeroplastics contemporary, Brussels

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HeHe, Nuage vert, Saint-Ouen, 2009. Inkjet print on dibond. 120 x 120 cm. Ed. of 3. Courtesy of Aeroplastics contemporary, Brussels

HeHe
Anthroposphere

16 January – 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 ‘diffusion’, and common points of contact between the two remain rare. Read more »

Review: Aidan Pontarini – The Ambivalent Spaces of Abjection

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Aidan Pontarini, I’ve Been Spilt Purgatorial Entrails, 2013. Oil & acrylic on canvas. 72 x 96 inches. Courtesy the artist.

AIDAN PONTARINI – 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 “I”, 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 Pontarini’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 “shit” at the threshold of what is socially acceptable, that which we expel but is also part of us, the repressed but inevitably present.
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