Lilah Fowler “Passage and Pair” at Maria Stenfors, London

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

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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John Isaacs “The Architecture of Empathy” at Travesía Cuatro, Madrid

John Isaacs, Ngorongoro, 2013. Glazed ceramic. Courtesy the artist and Travesía Cuatro, Madrid

John Isaacs
The Architecture of Empathy

19 September – 20 November 2013
at Travesía Cuatro, Madrid

Just as in the works of the exhibition, John Isaacs suggests that empathy is constructed from parallel stories of existence. An architecture which flows through time and space like gravity, binding all together with an invisible power. The architecture of empathy could be subterranean, built underneath our aspirational towers and skyscrapers, channeled through the very foundations of our utopias and constructed from the blood of millions of severed umbilical cords. Here there is no visible landscape other than the peaks of human kindness, and the dark valleys where evil deeds lurk. We, you and I, are fused in this way more profoundly than an other and though it is so, it is often forgotten. All to easily we become lost in a labyrinth constructed of paths burned deep like scorched brands mapping out our daily route to the waking reality of existence. A route which I shaped above ground, in history, by the murderous and the insane, yet that we follow blindly, or look upon with closed eyes.
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Opportunities: Les Verrières Studio Residency in Pont-Aven, France

Image courtesy of Les Verrières Résidences-atelieres de Pont-Aven

Les Verrières
Studio Residency in Pont-Aven


Deadline: 31 October 2013

The municipality of Pont-Aven welcomes collaborative groups, fine artists and art critics of all nationalities in order to facilitate their artistic and research projects. The goal is to support artists in the development, research and communication of contemporary art concepts.
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Zabriskie Point (Redacted), film by Stephen Connolly

Zabriskie_Redacted_still_01_Miwa Film still from Zabriskie Point (Redacted), 2013, by Stephen Connolly. © bubblefilm 2013

Zabriskie Point (Redacted)
film by Stephen Connolly
27’ HD © 2013

Forthcoming screenings:
London Film Festival 2013
ICA, Screen 1 – Saturday 12 October, 18.50
BFI Southbank, NFT3 – Sunday 20 October, 13.15

Inspired by a visit to Zabriskie Point – a scenic tourist spot in Death Valley, California – this film re-visits and contemporises Antonioni’s 1970 MGM film of the same name. Aligning with Antonioni’s stated intentions – to produce a work as “an idea in landscape” – Zabriskie Point (Redacted) enacts a programme of visual and social research for the earlier film at one remove from the dramatic narrative.
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Extending human vision: Interview with Paul Wombell, guest curator for Le Mois de la Photo à Montréal 13

Raphaël Dallaporta, CHESME SHAFA. Balkh Province, Afghanistan. From the Achaemenid period (6th–4th century BC) to the Ghorid period (12th–13th century AD), 2011, from the series Ruins (2011). Detail. Chromogenic print on Dibond, 120x150cm. Courtesy of the artist.
© Raphaël Dallaporta

Paul Wombell is an independent UK based writer and curator of photography. Previously directing two of the UK’s top photography institutions as well as curating many photo festivals in Europe, Wombell was invited as guest curator for the 13th edition of Le Mois de la Photo à Montreal, the city’s international photography biennale. In this short interview during the opening event, Wombell talked to M-KOS about his motivations to theme this year’s program under “Drone: The Automated Image” so to suggest the camera is imposing its own agency in relation with humans and thus to further question the meaning of being human in the technology age.

MKOS: How did you start the process of curating Le Mois de la Photo?

Paul Wombell [PW]: This started 26 months ago, a long time ago, I put the proposal in to the biennale and I was quite surprised that they accepted it. The premise was the idea of humans using technology to see or to extend human vision. The key concept was the idea of the drone, which was the idea of using a form of technology to see in the distance, partly with all the military issues with the American government and the idea of surveillance. But I took that as a kind of metaphor to look beyond just the drone. Read more »

Opportunities: Residency program at Campos de Gutiérrez, Medellín, Columbia

Image courtesy of Campos de Gutierréz

Residency program
at Campos de Gutiérrez, Medellín, Columbia

Residency period: 15 January – 31 March 2014 (Minimum six weeks)

Deadline: 1 October 2013

Campos de Gutiérrez is an international residency program for contemporary artists, designers, curators, and art historians housed in a 19th century coffee plantation in the foothills of Medellín, Colombia. Campos emerged from the desire to promote historical preservation, while being unafraid to repurpose historical structures for the present. It seeks to foster cross-cultural interactions both within its diverse groups of participants, and between those participants and the existing cultural communities of Medellín.
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Anarchism Without Adjectives: On the Work of Christopher D’Arcangelo, 1975–1979 at Leonard & Bina Ellen Art Gallery, Montréal

View from exhibition, ANARCHISM WITHOUT ADJECTIVES: ON THE WORK OF CHRISTOPHER D’ARCANGELO, 1975-1979. Leonard & Bina Ellen Art Gallery, 2013. Photo: Paul LItherland

Anarchism Without Adjectives: On the Work of Christopher D’Arcangelo, 1975–1979
4 September – 26 October 2013
at Leonard & Bina Ellen Art Gallery, Montréal

Curated by Dean Inkster and Sébastien Pluot in collaboration with Michèle Thériault

“When I state that I am an anarchist, I must also state that I am not an anarchist, to be in keeping with the (….) idea of anarchism. Long live anarchism”
– Christopher D’Arcangelo

Between 1975 and 1979, the North American artist Christopher D’Arcangelo (1955-1979) developed an artistic practice that was notable for its radicality and critical import concerning the role of the artist, the status of the art object and the institutionalization of art. A desire for a radical democratization of the production and reception of art motivated D’Arcangelo’s institutional critique, which he voiced in a statement on anarchism. Recalling the historical expression “anarchism without adjectives,” the statement, which accompanied in various forms the majority of his actions and interventions, contains an ellipsis between brackets in the place of an adjectival descriptor of the noun anarchism.
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DRONE: The Automated Image – Le Mois de la Photo à Montréal 13

Trevor Paglen, Reaper Drone: Indian Springs, NV; Distance – 2 miles, 2010. Courtesy of the artist; Metro Pictures, New York; Altman Siegel, San Francisco; and Galerie Thomas Zander, Cologne

DRONE: The Automated Image
Le Mois de la Photo à Montréal 13
5 September – 5 October 2013
25 exhibitions in 14 sites across Montréal

Guest curator: Paul Wombell

International photography biennale “Le Mois de la Photo à Montréal” opens its 13th edition on 5 September through to 5 October, to present 25 local, national and international artists on 14 different sites across the city, under the theme of “DRONE: The Automated Image”.

This year’s guest curator Paul Wombell developed this theme by focusing on the materiality of the camera and its changing relationships with human operators, to trace the evolving shapes and characteristics of the camera over the past 40 years which is nowadays adapting more to the advent of drone and other machine behaviours. The artists herein explore human co-authorships with advancing imaging technology, how to creatively deal with intelligent cameras and their transformation into systems that may one day literally capture the imagination. Read more »

Summertime in Japan: Tokyo Art Marathon part 2

Tomoko Yoneda, Kimusa 02, 2009. C-type print. Courtesy the artist and ShugoArts.

Tokyo Metropolitan Museum of Photography is currently dedicating a perspicacious mid-career retrospective survey (through 23 September 2013) to London-based / Japanese-born Tomoko Yoneda. “We shall meet where there is no darkness” encloses over a decade of pictures within seven individual series as well as one video installation, all painstaking researching and documenting particular places and artifacts that bring back distant memories and preserve deep historical insight of Japan’s relations with its surrounding nations in the past century. Yoneda jointly organized the solo show “Rooms” at ShugoArts – the gallery in Kiyosumi-Shirakawa art complex which represents her – to gather more sets of congruent photographic works such as the “Topographical Analogies” series. (through 7 September 2013)
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