Meschac Gaba “Le Monde” at Stevenson, Cape Town

Meschac Gaba, Citoyen du monde, 2012. Inkjet print on synthetic canvas. Courtesy the artist and Stevenson, Cape Town/Johannesburg

Meschac Gaba
Le Monde

6 June – 20 July 2013
at Stevenson, Cape Town

Meschac Gaba’s exhibition “”Le Monde” will comprise works that he made for the recent Benin Biennale as well as an installation titled La Mode en Miniature.

La Mode en Miniature takes the form of a shop of babies’ and children’s clothes, made in Cotonou, Benin, and displayed on painted dummies, also from Cotonou. At first glance, the installation appears childlike and sweet, yet a closer look reveals that the embroidered texts on the colourful clothes are violent, disturbing and disconcerting words and phrases, a reminder of children’s vulnerability to certain phenomena in our society. The context of a shop-like space is a thread that runs through Gaba’s work, in which he repeatedly explores issues of cultural exchange and value.
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Nilbar Güreş “Nilbar Wien-Na” at Galerie Martin Janda, Vienna

Nilbar Güreş, Ayse loves Fatma, 2011. C-Print. Courtesy the artist and Galerie Martin Janda, Vienna

Nilbar Güreş
Nilbar Wien-Na

7 June – 27 July 2013
at Galerie Martin Janda, Vienna

Nilbar Güreş offers her observers seemingly direct access that takes on varyingly playful, poetic or even ironic characteristics. However, hidden in the background are social-political constructs that can coalesce to depict individual destinies. In her large-format photographs, Güreş investigates, for example, the meaning of homosexual love in a society dominated by patriarchal structures (Ayse loves Fatma, 2011), or the narrowly apportioned, clearly defined societal framework for women (Overhead, 2010), and focuses on gender and cultural identities. Seemingly every day events are staged to resemble cinematic stills. The use of provocative gestures and their significance only becomes apparent when the cultural background is revealed.
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Cally Spooner “Carol, I Think My Place In History Is Assured” at MOT International, Brussels

Cally Spooner, Collapsing in Parts, 2011–2012. novellia, published by Mousse, Milan and International Project Space, Birmingham, 2013. Courtesy the artist and MOT International, London/Brussels

Cally Spooner
Carol, I Think My Place In History Is Assured

7 June – 13 July 2013
at MOT International, Brussels

‘Pat!’ bellows Harry. ‘C’mon in. Have a chair, have a cigar, have anything you want but don’t touch the table.’ He indicates a coffee table. ‘It’s worth a fucking fortune and I know what you’re like with your little accidents.’
The Screenwriter nervously skirts the table, taking care to sit in an immovable armchair. The chair is wide and low backed and the Screenwriter has no idea how to sit in it with assurance. Eventually, he settles on the very edge, which he knows made him look weak, though this is better than lazy, because Harry hates lazy fuckers, and the Screenwriter is not, he hopes, lazy.
‘Pat’ shouts Harry, ‘you’re fucking lazy.’ Read more »


Giusepe Penone, Spazio di Luce, 2013. Courtesy the artist; Le château de Versailles; domus. Photo: Tadzio

■ Vancouver artist Geoffrey Farmer has won the Gershon Iskowitz Prize, consisting in a sum of $50,000 as well as a solo exhibition in February 2014 at the Art Gallery of Ontario, Toronto []

■ “Traffic: Conceptual Art in Canada 1965–1980″ was awarded an accolade for Outstanding Achievement in Exhibitions from the Canadian Museums Association. Shown in five major cities across Canada between September 2010 and January 2013, Traffic was collectively curated by Michèle Thériault and Vincent Bonin (Montreal), Barbara Fischer (Toronto, London, Guelph), Jayne Wark (Halifax), Catherine Crowston (the Pariries + the Arctic) and Grant Arnold (Vancouver). []

■ Richard Serra’s “Shift” (1972) was finally confirmed for an indefinite heritage protection after a long lobbying battle within the township council for King City in Ontario, which officially voted for (although via a 5-2 split decision) the designation of the sculpture to a cultural heritage site. [ArtsBeat]
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Opportunities: Kashima 2013 #2 – International Artist-in-Residence in Beppu city, Japan

Image courtesy the Beppu Project

Kashima 2013
International Artist-in-Residence programme
organised by Beppu Project
Theme: Space–Time
When: September – October 2013 (Dates TBC)

Deadline: 21 June 2013 (Before midnight, Japan time)

BEPPU PROJECT invites international artists from various disciplines in the contemporary art field to submit their project for the “Kashima 2013 #2″

Artists should propose their projects on the theme of “SPACE-TIME“. The project will be shown in one or two streets in downtown Beppu, in collaboration with the local activities (small shops, café, restaurant). Also, artists will be invited to participate in the forum with local people to discuss and exchange ideas about the art work.
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Opportunities: Call for papers “Envisioning the Practice” International symposium on performing arts curation

Image courtesy the ACAQ.

Call for papers
Envisioning the Practice
International symposium on performing arts curation

Extended deadline: 15 June 2013

A seminal event in the field of the performing arts, conceived by the Arts Curators Association of Québec (ACAQ), and hosted by the PHI Centre and the Université du Québec à Montréal (UQAM), Envisioning the Practice will be held in Montréal, Canada on 10–13 April 2014. The symposium is sponsored by Tangente, and collaborating partners Studio 303 and S.A.T. (La Société des arts technologiques) will offer programming for this special event.
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John Bock “Der Pappenheimer” at Kunstverein Hamburg

John Bock, Der Pappenheimer, Installation view at Kunstverein Hamburg, 2013. Courtesy the artist and Kunstverein Hamburg. Photo: Fred Dott.

John Bock
Der Pappenheimer

1 May – 30 June 2013
at Kunstverein Hamburg

John Bock (*1965, lives in Berlin) initially studied Business Administration before continuing his education under Franz Erhard Walther at the University of Fine Arts Hamburg until 1997. It was already during this time that he developed the format of lecture performance, which continues to shape his work today. One of the first, in 1992, entitled “Wie werde ich berühmt?” (How do I become famous?), explores the role of the artist, one’s own and social expectations and possible requirements and excessive demands. These actions somewhat misleadingly perhaps referred to as “lectures” unite Dada and absurd theater, the grotesque with self-irony and always directly involve the audience. Sometimes it becomes part of the actions, but often it becomes a mirror of his own presence.
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Danger awakens the senses: An interview with Michel de Broin

Michel de Broin at his solo exhibition at Musée d’art contemporain de Montréal. Anthropométrie, 2013 [wall]; Blowback, 2013. Photo: M-KOS

Montréal based artist Michel de Broin is currently showing his solo exhibition at Musée d’art contemporain de Montréal. Despite his initial proposal to destroy the entire museum façade being declined, De Broin showcases an engaging selection of re-made works from the past two decades, intertwined with new commissions. Throughout his career, De Broin has questioned the visual systems that control our daily activities by transforming existing or discarded objects into things that often appear absurd, by playfully shifting and subverting our perceptions. From water bottle rockets to gigantic disco balls, his adventurous impersonations of the flawed inventor or engineer further pushes the boundary of what we consider alternative forms of art. De Broin talks to M-KOS about his work and his take on showing within high profile art institutions.

MKOS: Is it true you only had one year to plan this show ?

Michel de Broin [MdB]: Yes, it was a pretty fast turnaround. If I had needed any funding for this show [from the Canadian Art Councils], I would not have had enough time to submit for it. So this is what led me to work with existing pieces, from which I added new works that I wanted to produce. This year I already had a lot of projects underway, so it was a really busy time and when this show was proposed to me, I had the choice to accept or refuse it, opportunities like this happen maybe because there was a cancellation in the programming, and the museum people thought I would surely find a way to work it out.

MKOS: So you took the opportunity.

MdB: Yes, but the thing is, even if I had two years [to organise this show] I don’t think I would have done it better. It was good to do it quickly now because as an artist from Quebec, a solo exhibition at the Museum [of Contemporary Art of Montréal] is almost like the culminating event of your career. But this didn’t happen to me because for the past ten years I wasn’t based in Montréal, I moved around and made a bunch of projects around the world. This opportunity made me see this museum show more as a new cycle. For me it was a time to put together and assess my works, to solidify a few loose ends, produce a catalog, and then leave again.
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Yam Lau “A World is a Model of the World” at Darling Foundry, Montréal

Yam Lau, Between the Past and the Present: Lived Moments in Beijing (video still). Courtesy the artist and Katzman Kamen Gallery, Toronto

Yam Lau
A World is a Model of the World

6 June – 25 August 2013
at Darling Foundry, Montréal

Curated by Alice Jim

The 11th Anniversary + Opening of the exhibition: 20h00
VIP Benefit event: 18h00 – 20h00
Thursday 6 June 2013

In a corner of a city centre undergoing modernization and gentrification, fraught with conflicting economic scales of living together, a means of voluntary reclusion is on offer via a Chinese scholar’s studio and an apartment residence. The video projections, Between Past and Present: Lived Moments in Beijing (2012) and Room: An Extension (2008), are set adrift on two island pavilions connected by unobstructed garden pathways that are partly imaginary and partly evoked through deliberate landscaping and the open frame armature. Yam Lau’s recent work explores the use of real-time video footage and computer-aided design software to manifest familiar spaces in varying dimensions and perspectives.
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Newslinks – Venice Digest and Other Links

Raphaëlle de Groot’s performance during the preview week for the Venice Biennale. Courtesy Galerie de l’UQAM. Photo: Gwenaël Bélanger

Venice Digest

■ Tino Sehgal won the Golden Lion prize for best artist, in Massimiliano Gioni’s “The Encyclopaedic Palace” exhibition at the 55th Venice Biennale. Seghal’s acceptance speech at the ceremony can be heard here. [BiennaleChannel]

■ The Golden Lion for best National pavilion was awarded to Angola, who presented in Venice for the first time with a commission by two architects (Paula Nascimento and Stefano Rabolli Panserato) to curate “Beyond Entropy”. The concept of the exhibition started off with the paradoxical nature of the Biennale’s theme, The Encyclopaedic Palace, claiming that: “No building could ever contain all the knowledge of the world”. Nascimento and Panserato’s interview can be seen here. [BiennaleChannel]
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