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

casino-luxembourg.lu

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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Opportunities: Open Call for apexart Franchise Program

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Lima Rooftop Ecology (2012), organized by Carlos León-Xjiménez. Photo: Pablo Leon De La Barra, via Centre For The Aesthetic Revolution

apexart
Franchise Program

Where: Anywhere in the world other than New York City

Next submission period: 15 February – 15 March 2014

The Franchise is an open call for 500-word proposals for group shows that take place anywhere in the world outside of New York City. One of apexart’s two curatorial open calls, the Franchise asks for submissions for exhibitions that examine a specific idea or theme. Exhibitions can be about anything that the organizer finds compelling and can take place anywhere other than NYC. Past shows have explored construction in Mexico City, community in Memphis, and translation in Kampala. The Franchise is an opportunity to help bring a compelling idea to fruition and to illustrate that the center of the world is wherever you are. Please note that apexart is not a funding organization and exhibitions are part of apexart’s regular programming.
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Yannick Desranleau & Chloe Lum (Séripop): Vexations at Access Gallery, Vancouver

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Yannick Desranleau & Chloe Lum (Séripop), Vexations, installation view, 2014. Screen printed paper, rubber, wood, paper mâché, rope, paint, polyethylene film, pigment, pulleys, electrical chord, nets, found objects. Courtesy of the artists. Photo by Yannick Desranleau

Yannick Desranleau & Chloe Lum (Séripop)
Vexations

11 January – 8 March 2014
at Access Gallery, Vancouver

In Vexations, Yannick Desranleau and Chloe Lum consider the space and surfaces of the gallery as a receptacle for a visual response – a vessel that will be both present and formless in the support of a resulting “sentence” that will be uttered. Through the manipulation of coloured paper against other materials, Desranleau and Lum’s sculptures react to both planes and void, to create tension between volume and flatness, mass and fragility, material stress and failure, and inertia.
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Valérie Blass: Théâtre d’objets at Parisian Laundry, Montréal

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Valérie Blass, La partie pour la chose, 2013. Digital print, watercolour on matte paper, 12 x 18″ Courtesy the artist and Parisian Laundry, Montréal

Valérie Blass
Théâtre d’objets

16 January – 15 February 2014
at Parisian Laundry, Montréal

Opening: Wednesday 15 January 2014, 18h00

Théâtre d’objets includes one of the artist’s latest series where interests that have been at the crux of her practice are realized photographically and presented in parallel to her sculptures. These images represent staged scenes of puppeteers manipulating objects from the artist’s studio, here Blass provides us with a literal window into the theatre of objects that has underscored her practice for the past decade. The actors in these scenes represent the nuance of her work, they remain in the shadows, subtle and discrete, they are the props for the objects of the artists’ desire. This inter-changeability between subject and object represents the essence of Blass’ captivating visual language. The exhibition occupies both Parisian Laundry’s main floor and the gallery’s bunker space.
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