Wang Yahui, from series of Leaf Holes, 2011. © 2012 Wang Yahui. Courtesy the artist and TKG+, Taipei and Beijing.
Near and Far
22 December 2012 – 8 February 2013
at TKG+, Taipei
Wang Yahui’s photographs, videos, and installations are firmly rooted in her close observation of the quotidian. Her works alter regular perceptions of one’s surroundings, rendering the common and the overlooked into explorations of one’s notions of the everyday, and as the artist notes, combining them into “new constellations” made visible through the interaction of the audience with each work.
Douglas White, Elephant Tent, 2012. Unfired clay, jute, wood, steel, rope. Courtesy the artist and Galerie Gabriel Rolt
Song of the Roustabouts
19 January – 23 February 2013
at Galerie Gabriel Rolt
Douglas White’s “Song of the Roustabouts” is an exhibition of sculptural works including the eponymous large-scale installation made from over 1,000 kilos of wet clay suspended by a strange system of ropes, pulleys and wooden poles. The work, which the artist will construct on-site in the large open space of the gallery, recalls a haunting encounter White had more than a decade ago.
Image courtesy of Triple Canopy, New York
Triple Canopy in New York has for the past five years worked to present compelling work online in ways that make innovative use of the Web. For the 2013 open call, Triple Canopy invites artists and writers to submit proposals for projects that may not find their primary realization on the Web, but which may ultimately be published in some form in their online magazine such as Print poster, Book or e-book, Public lecture or seminar, Performance, Reading, Screening and Exhibition.
Lucie Fontaine, i-n-v-e-n-t-o-r-y, 2012. Detail from installation view. Courtesy the artist and SABOT
15 January – 28 February 2013
at SABOT, Cluj-Napoca
The starting point of the show lays in its own title: while the term “inventory” defines something that has been left, that is already there, “a record of one’s possessions,” the very same noun includes “invent”, which means to make “something previously unknown.” Once again, Lucie Fontaine’s practice attempts to question the notion of creativity and, by consequence, its relationship to distribution and, therefore, its status in today’s porous and interchangeable reality. [read the full text here]
Thomas Demand, Pacific Sun, 2012. Production still © Thomas Demand/SODRAC (2012) Courtesy Matthew Marks Gallery, New York/Sprüth Magers, Berlin and London/Esther Schipper, Berlin
19 January – 12 May 2013
at DHC/ART, Montréal
Curator: John Zeppetelli
A philosophical commentator on the authenticity of the “real” and the slippages of memory, Thomas Demand is a well-known German photographer who began as a sculptor, but is now widely acclaimed for photographic and moving image works.
Demand’s work interlaces photography, architecture and sculpture. His method usually begins with an image culled from the media, which is meticulously re-fabricated, by hand, into a life-size, three-dimensional paper and cardboard sculpture, to ultimately end up as a photograph. The resulting images are both very recognizable and strangely out of reach. Crucial to the context are photography’s long-debated truth claims, and the photograph’s indexical quality.
100 PAINTERS OF TOMORROW
Open call web submission for breakthrough project
to find the best of the next generation of painters.
Painting is enjoying a remarkable creative renaissance in the 21st century, with many of the world’s leading artists now working in this most enduring and seductive of media. 100 Painters of Tomorrow is an ambitious new project, initiated by editor-curator Kurt Beers and the publishers Thames & Hudson, to find the 100 most exciting painters at work today. Culminating in a major publication that will introduce and present each artist and their work, creating a snapshot of the best new talent in painting from across the globe, submissions are invited from artists via this website from 15 January – 15 March 2013.
François Curlet, Vintage Discounter, 2012. Installation view. Courtesy the artist and Galeire Micheline Szwajcer. Photo: Sven Laurent
6 December 2012 – 26 January 2013
at Galerie Micheline Szwajcer, Antwerp
“The whole forms a keyboard shortcut to the human food chain, as reflected in the words of French singer Philippe Katerine in relation to the sweaters he purchased at a thrift store: “I love wearing the clothes of dead people.” Here, the film of historical comfort—still present in the memory of the exhibitions Le Vide by Yves Klein (1958) and Le Plein by Arman (1960) at Galerie Iris Clert in Paris—has burst; its fragments are replayed in the lottery of compulsory compositions. They have fallen into another stratum, namely that of vintage, which amnesic archaeologists devour. What remains is poetry, attempting to create a breathing space in the chinks of the profit margin.” – François Curlet
[read the whole text here]
From October to November 2012, Montreal hosted the first installment of “Montreal/Brooklyn”, initiating an exchange in visual art events between the two titled cities, thus capturing important media and audience attention towards the art scene of the Quebecois metropolis. In an interview with M-KOS, Montreal coordinators Claudine Khelil and Yann Pocreau mention their delight at all the positive feedback received in Montreal, but remain alert for the final chapter of the project that is yet to come, over to the state side of the border. As it is now Brooklyn’s turn to host the next part of this event, indicated by the reversed title (Brooklyn/Montreal), the categorical test for Montreal artists will be about how they are received by New Yorkers, their critics as much as their art enthusiasts. Will there be any buzz?
Posted in Festival, Visual Arts, What's On
Tagged A.I.R. Gallery, Aimée Burg, Articule, Artist-run centre, Aude Moreau, Bang Geul Han, Barbara Siegel, Brooklyn/Montreal, Catherine Tremblay, Celia Rowlson-Hall, Centre Clark, Chelsea Knight, Elisa Kreisinger & Marc Faletti, Emily Roz, Frédéric Lavoie, Galerie Division, Galerie l'UQAM, Galerie SAS, Interstate Contemporary, Isabelle Hayeur, Jacynthe Carrier, Janet Biggs, Jérôme Havre, Julie Côté, Julie Favreau, Kathleen Schneider, Les Territoires, Mark Tribe, Marko Markovic, Mathieu Beauséjour, Melissa Murray, Michel De Broin, Michelle Lacombe, Minna Pöllänen, Momenta Art, Musée d'Art Contemporain de Montréal, Olivia Boudreau, Optica, parker's Box, Pascal Grandmaison, Patricia Smith, Patrick Bérubé, Patrick Martinez, Pierogi, Robert Boyd, Rosemarie Padovano, Sebastién Cliché, Smack Mellon, Sophie Bélair-Clément, Steven Brower, Sylvie Cotton, Tatiana Istomina, Véronique Ducharme, William Lamson
Elena Damiani, La Historia Se Descompone En Imagenes, No En Historias, 2012. Installation view. Courtesy of the artist and Revolver Galeria
La historia se descompone en imagenes, no en historias
(History is decomposed into images, not into narratives)
30 November 2012 – 20 January 2013
at Revolver Galeria, Lima
Elena Damiani’s “La Historia Se Descompone En Imágenes, No En Historias (History Decomposes Into Images, Not Into Narratives)” is a collection of collages, sculptures and video, which evoke the experiences of the ‘wanderer’. Reworking images found in photographic archives, the exhibit is composed by a series of objects arranged in isolated landscapes. They invoke a certain solitude and longing, and yet they are also tranquil and deeply satisfying. The artist invites her spectators to roam through a deserted territory where landmarks of a not so distant past are sprawled across the landscape serving as a reminder of the time that has come to pass.