Colleen Heslin, Blue Monochrome, 2014. Ink and dye on cotton. 48 x 54 inch. Courtesy the artist and Galerie Laroche / Joncas, MontrÃ©al
BALLADS FROM THE NORTH SEA
Galerie Laroche/Joncas, MontrÃ©al
8 March to 26 April, 2014
Review by Joseph Henry
On the crowded fourth-floor of the Whitney Biennial, a floor curated this year by Stuart Comer, American artist Ken Okiishi brought painting into contact with the galleriesâ€™ propensity toward new and electronic media. For his contribution to the Biennial, a major exhibition designed to showcase recent American art, Okiishi painted over consumer-grade television monitors, obscuring their moving images with messy acrylic. If perhaps blunt in its multimedial comparison, Okiishiâ€™s work symbolized a relatively new place for painting after its perennially announced death by Paul Delaroche in 1839, and countless others since. In a digital visual culture dominated by screen technologies and their perceptual flatness, painting has been revived as a key medium in the investigation of the surfaces and places from which images are produced and consumed. Read more
Image courtesy KÃ¼nstlerhaus Schloss Balmoral
Residential Fellowships for international visual artists
at KÃ¼nstlerhaus Schloss Balmoral
in Bad Ems, Germany
Deadline: Saturday 28 June 2014 (postmark)
Artistsâ€™ residence KÃ¼nstlerhaus Schloss Balmoral in Bad Ems was founded in 1995 and is a place of reflection, artistic production, discussion and meeting. It supports visual artists from all over the world by awarding artists-in-residence fellowships.
The KÃ¼nstlerhaus is publicly presented through lectures, concerts and exhibitions. Works by the fellows are regularly shown in â€˜Made in Balmoralâ€™, the KÃ¼nstlerhausâ€™s exhibition space in the Bad Ems city centre. Schloss Balmoral sees itself as an interface between artistic work and theoretical reflection and as a point of contact between former and present fellows. Balmoral intends to build a bridge between the artists’ present and their future.
The theme for the residential fellowships for 2015 is Dada. Since 2013, fellowships are offered in one artistic genre or one theme each year. This offering, which is unique in Germany, is intended to enable deeper mutual creative cross-fertilisation among the resident artists. It will also lead to a more intensive specialist exchange of ideas with external artists, speakers, teachers, curators, etc. For 2015, the KÃ¼nstlerhaus Schloss Balmoral is awarding two 3-month residential fellowships and four 9-month residential fellowships. Read more
Read the article “7 Art Trends at Frieze New York 2014”
See the slide show of “7 Art Trends at Frieze New York 2014”.
All photos by M-KOS except where mentioned.
Read the article “7 Art Trends at Frieze New York 2014”
All photos by M-KOS except where mentioned.
Zhan Wang, Flying Stone No.2, 2007 at Long March Space, Beijing. Photo: M-KOS
Frieze New York 2014 returned from May 9 to 12 for a third consecutive year, taking residence once more on Randall’s Island, flanked between Northern Manhattan and Queens on East river. Tortuously accessible from either a ferry ride leaving just south of the United Nations building (East Mid Town); a school bus journey starting opposite Guggenheim Museum; or via an elaborate drive thought some of New York’s most convoluted overpasses – the journey to Frieze already imposes itself as a pilgrimage for art enthusiasts. Aptly enough, Randall’s Island is also noted for housing several sport fields and a psychiatric asylum, an anecdote thus foretelling of the experience waiting within the winding all-white tent, designed by Brooklyn-based architect duo SOL-IL and the scores of art bounty to behold, simultaneously testing one’s physical stamina and intellectual capacities. Read more
Philip Newcombe, â€˜6 pink gym balls liberated from a lifetime of physical abuseâ€™ 2014, 6 gym balls; â€˜Clapâ€™ 2014.Rubber band snapped to the sound of a loud clap. Installation view. Courtesy the artist and Maria Stenfors, London. Photo: Mike Taylor
2 May â€“ 7 June 2014
at Maria Stenfors, London
Newcombe often uses familiar and democratic objects such as lollipops, darts, folded up paper, thread, perfume, other peopleâ€™s business cards and scent dispensers. By adding to or subtracting from these with subtle and well aimed interventions, the possible narratives seem ambiguous, contradictory, open ended and looped; revealing truths, half-truths, red herrings and trip-ups. Sometimes not all is what it seems to be. Although titles can describe an activity (â€™20 pints of milk dispersed throughout a cityâ€™, for example), there is rarely any photographic documentation of the event or a date or any other superfluous conceptual padding to justify the action. There seems no need. Instead they stubbornly hover in the territory between fact and fiction. Read more
Elena Bajo, The Absence of Work, 25 gradient prints, 2012. Courtesy D+T Project Gallery, Brussels
The Absence of Work
4 April â€“ 17 May 2014
at D+T Project Gallery, Brussels
Doing nothing takes time, and is a work in itself. For eponymous exhibitions in Basel and Munich in 2012, Elena Bajo printed with a hand press a series of posters that read The Absence of Work, pulling impressions until ink faded and the text completely disappeared. It took twenty-five impressions to go from full ink to no ink.
Her inspirations come from different horizons. A line in John Cageâ€™s An Anarchist Poem declares: â€œwork is now obsoleteâ€. The line recalls the words, embodying the philosophy of the Situationists, that Guy Debord inscribed on a wall in the Rue de Seine in Paris in 1953: â€œNE TRAVAILLEZ JAMAISâ€ â€“ never work. Work, social and political dimensions of everyday spaces, strategies for conceptualizing resistance, the poetics of ideologies, and the relationship between temporalities and subjectivities have long been at the forefront of Bajoâ€™s art. Together with Rirkrit Tiravanija â€“ who also seized upon the Situationist slogan and has employed it repeatedly in his own practice â€“ Elena Bajo calls up to ask what forms it is possible for art to take and what the relevance of art is to contemporary society. Read more
Donald Browne Gallery booth at Papier 14. Courtesy Galerie Donald Browne, Montreal
Papier 2014 set up its art fair tent this year on a vacant lot in downtown Montreal, one block away from the cityâ€™s centre point at corner of Ste-Catherine and Clark streets. Organised by AGAC (Association des Galleries dâ€™Art Contemporain â€“ The Association of Contemporary Art Galleries), the fair comprises a total of 44 commercial galleries from across Canada, exclusively selling works on paper. Donald Browne has been an exhibitor at Papier with his own gallery since its first edition in 2007, and acted as AGACâ€™s treasurer and member of the executive council for the past four years. He exchanges a few words with M-KOS about Papier 2014.
MKOS: Have you been participating in Papier since it started?
Donald Browne [DB]: Well, Iâ€™ve been a part of organizing the fair since the last four years, but yes Iâ€™ve been doing Papier with my gallery since seven years ago, when we were just 18 galleries at Westmount Square. We just had a table and a billboard behind us. It was very simple. But then when we started to get a little more confident, with a little grant from the Quebec government, and now itâ€™s much more feasible to put on an event like this. In 2007 it was a very initial attempt at an art fair in Montreal, and with a snowball effect we finally arrived in a tent like this with 44 galleries. Itâ€™s really grown over the last seven years, I really encouraged that we have this kind of event here, itâ€™s important for people, for the social interaction, as well as for people understanding that these things are for sale, and itâ€™s an exciting event to prepare for.
Rachel Shaw, All Seriousness, 2014. Acrylic on panel. Courtesy the artist and Galerie LOCK, Montreal.
Montreal based artist Rachel Shawâ€™s solo exhibition is currently on view at Galerie LOCK, showcasing her new series â€œAll Seriousnessâ€: a sequence of sterile, yet comically uplifting interiors. These waiting areas, offices, and living rooms have no visible entrance or exit; only black squares that lead to nowhere. Devoid of human presence, the furniture and objects no longer serve any utilitarian function and instead engage in aesthetic conversations with the viewers. The shadows, angles and intersections are only slightly off, lending to a peculiar unease on the part of the spectator. Caught in a state of in-betweenness, we canâ€™t help but ask: where did everybody go? Shaw discusses her work with Jessica Kirsh.
Jessica Kirsh [JK]: There appears to be a reoccurring trope in your body of work: that of the window or frame. Most often illustrated as a black rectangle, it holds a stark yet mysterious presence within the interior. What signification (conceptually or formally) does this device contain? How is it repurposed or reconfigured from one painting to the next?
Rachel Shaw [RS]: In the diorama â€“ a small-scale model of a real-life scene â€“ a window (or at least the absence of a wall) is often as a point of view or observation. Even the word diorama means â€˜through that which is seenâ€™, which I think is pretty appropriate. I donâ€™t use the word diorama to mean scale modeling or miniaturism, but I do use the window as a way to display a certain type of space while also containing it and the objects within it indefinitely. Formally, I think it works as a point of pause and reorientation, like a wall does in a maze, but it does hint at a space outside the one youâ€™re in.
Image courtesy of Hotel Maria Kapel, Hoorn
Open Call for Proposals 2015
Hotel Maria Kapel,
Hoorn, the Netherlands
Deadline: Sunday, 4 May 2014, 23H59 CEST
Application fee: â‚¬15
Hotel Maria Kapel is an artist-run residency and project space located in a 15th century chapel in Hoorn, the Netherlands; a small historic town 40 kilometres north of Amsterdam. Hoorn was founded in 716, and rapidly grew to become a major harbour town. During Hollandâ€™s â€˜Golden Ageâ€™, Hoorn was an important home base for the Dutch East India Company (VOC) and a very prosperous centre of trade. Hoorn is currently a city with a small touristic centre and larger sub-urban area and has a high number of commuters to Amsterdam for work and studies. HMK offers artists a stay in a concentrated work space, where dialogue and collaboration inform experimental, context based exhibitions and projects. The programme invites artists and curators working in a wide range of media, but mainly focusing on installation and context based work and video.