M-KOS

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Mirror: Xavier Veilhan, Lautner, 2013 at Galerie Perrotin, NY/Paris/HK

Mirror: David Altmejd, Untitled (Guides) at Andrea Rosen Gallery, NY

Mirror: Jeon Joonho, Composition of Poetry, 2014 at Gallery Hyundai, Seoul

Mirror: Zhan Wang, Flying Stone No.2 2007 at Long March Space, Beijing

Mirror: FriezeNY2014_Artie Vierkant, Detachable storage rack for a metallic structure (Exploit) at Untitled, NY

Mirror: Artie Vierkant at Untitled, NY

Mirror: Jim Lambie, Alcazar, 2012 at Sadie Coles HQ, London

Mirror: Sarah Oppenheimer at P.P.O.W., NY

Mirror: Rirkrit Tiravanija at Kurimanzutto Mexico City

Self-standing DIY structures: Virginia Overton, Untitled (Sandbag), 2012 at Mitchell-Innes & Nash, NY

Self-standing DIY structures: Virginia Overton, Untitled (O.M.brick), 2014 at White Cube, London/HK/São Paulo

Self-standing DIY structures: B. Wurtz at Kate MacGarry, London

Self-standing DIY structure: Abraham Cruzvillegas, Affective & Happy, 2012-13 at Galerie Chantal Crousel, Paris

Self-standing DIY structure: Adam Putnam, Untitled (Contraption), 2014 at P.P.O.W., NY

Self-standing DIY structure: Haroon Mirza, Low Tech Reproposed, 2014 at Lisson Gallery, London/Milan/NY

Self-standing DIY structure: Sam Goodman, TV, 1962 at The Box, LA

Self-standing DIY structure: Sam Goodman, The Bomb, 1960–61 at The Box, LA

Self-standing DIY structure: Nari Ward, Bottle Field, 2013 at Lehmann Maupin, NY

Self-standing DIY structure: Djordje Ozbolt, Whatever Pings Your Pong, 2014 at Herald St., London

Self-standing DIY structure: Ryan Gander, A Lamp Made By The Artist For His Wife (Twenty Fifth Attempt), 2013 at Taro Nasu, Tokyo

Self-standing DIY structure: Harry Dodge, Frottage In Dreamtime, 2013 at Wallspace, NY

Self-standing DIY structure: Lizzie Fitch/Ryan Trecartin, Summer Law, 2013 at Andrea Rosen Gallery, NY

Metal wire: Dave McKenzie, The Past Into Future Infinity, 2012 at Wien Lukatsch, Berlin

Metal wire: Leonor Antunes, Anni, 2014 at Marc Foxx Gallery, LA

Metal wire: Miroslaw Balka, 92x31x18, 2014 at WhiteCube, London/HK/São Paulo

Metal wire: Lena Henke at Real Fine Arts, NY

Metal wire: Josephine Meckeper, Mobile 5000, 2010 at Elizabeth Dee, NY

Metal wire: Nate Boyce, Suspension Screen (Cryo), 2014 at Altman Siegel, San Francisco

Metal wire: Nate Boyce, Suspension Screen (Casper Copper), 2014 at Altman Siegel, San Francisco

Metal wire: Nairy Baghramian, Waste Basket 2012 at Galerie Buchholz, Cologne

Collage: Michele Abeles, Where Is The Closest Italian Restaurant, 2013 at Sadie Coles HQ, London

Collage: KUWIEKULIK, Activities With Dobromierz, 1972-74 at Raster, Warsaw

Collage: Carter-Mull, Gleaning, with The Chanel, 2014 at Marc Foxx Gallery, LA

Collage: Boris Lurie, Oh Mamma Liberte, 1960 at The Box, LA

Collage: Julia Wachtel, FLAT, 2014 at Elizabeth Dee, NY

Collage: Richard Sides at Calros/Ishikawa, London

Collage: Erin Shireff (left), Kara Walker (Right) at Sikkema Jenkins & Co., NY

Video: Jeon Joonho, Welcom, 2009 at Gallery Hyundai, Seoul

Video: Florian Meisenberg at Simone Subal Gallery, NY

Video: Zhang Pelli, Portraits of 2012, 2012 at Boers-Li Gallery, Beijing

Video: Nate Boyce, Scroll Sequence, 2014 at Altman Siegel, San Francisco

Neuveau folk art: Pascale Marthine Tayou at Galleria Continua, San Gimignano/Seine-et-Marne/Beijing

Nouveau folk art: Karl Wirsum at Derek Eller Gallery, NY

Nouveau folk art: Djordje Ozbolt, I Will Show You The World, 2014 at Taro Nasu, Tokyo

Nouveau folk art: Damien Deroubaix, Meschac Gaba at In Situ â€“ Fabienne Leclerc, Paris

Nouveau folk art: Yinka Shonibare MBE, New York Toy Painting, 2012 at James Cohan Gallery, NY

One colour objects: Lutz Bacher, The Devil Made Me Do It, 1994 at Greene Naftali, NY

One colour objects: RoxyPaine, Speech Impediment, 2014 at Marianne Boesky Gallery, NY

One colour objects: Sylvie Fleury, Skin Crime 3 (Givenchy 318), 1997 at Salon 94, NY

One colour objects: Thea Djordjadze, She Didn't Have Friends, Children, Sex, Religion, Marriage, Success, A Salary Or A Fear of Death. She Worked, 2012 at Sprùth Magers Berlin London

One colour objects: Gabriel Kuri at Kurimanzutto, Mexico City

One colour objects: Ugo Rondinone, siebteraprizweitausendundvierzehn, 2014 at Sadie Coles HQ, London

One colour objects: Abraham Cruzvillegas at Kurimanzutto, Mexico City

One colour objects: (detail) Abraham Cruzvillegas at Kurimanzutto, Mexico City

One colour objects: Aaron Young, Untitled, 2013 at Kukje Gallery, Seoul/Tina Kim Gallery, NY

One colour objects: Berta Fischer at Galerie Karin Guenther, Hamburg_D9

One colour objects: Jason Martin, Gemini, 2014 at Galerie Theodore Ropac,Paris/Salzburg

One colour objects: Mary Heilmann, Clubchair 80, 2013 at 303Gallery, NY

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Read the article “7 Art Trends at Frieze New York 2014”

All photos by M-KOS except where mentioned.

May 16, 2014June 5, 2019

7 Art Trends at Frieze New York 2014

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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. Continue reading “7 Art Trends at Frieze New York 2014”

May 10, 2014June 5, 2019

Philip Newcombe “COMPANY” at Maria Stenfors, London

Philip Newcombe, â€˜6 pink gym balls liberated from a lifetime of physical abuse’ 2014, 6 gym balls; â€˜Clap’ 2014.Rubber band snapped to the sound of a loud clap. Installation view. Courtesy the artist and Maria Stenfors, London. Photo: Mike Taylor

Philip Newcombe
COMPANY
2 May – 7 June 2014
at Maria Stenfors, London

Newcombe often uses familiar and democratic objects such as lollipops, darts, folded up paper, thread, perfume, other people’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 (’20 pints of milk dispersed throughout a city’, 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. Continue reading “Philip Newcombe “COMPANY” at Maria Stenfors, London”

May 6, 2014June 5, 2019

Elena Bajo “The Absence of Work” at D+T Project Gallery, Brussels

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Elena Bajo, The Absence of Work, 25 gradient prints, 2012. Courtesy D+T Project Gallery, Brussels

Elena Bajo
The Absence of Work
4 April – 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 Cage’s An Anarchist Poem declares: “work is now obsolete”. 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: “NE TRAVAILLEZ JAMAIS” – 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 Bajo’s art. Together with Rirkrit Tiravanija – who also seized upon the Situationist slogan and has employed it repeatedly in his own practice – 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. Continue reading “Elena Bajo “The Absence of Work” at D+T Project Gallery, Brussels”

May 3, 2014June 5, 2019

Gesture in Collecting : In conversation with Donald Browne, art dealer at Papier 14

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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 city’s centre point at corner of Ste-Catherine and Clark streets. Organised by AGAC (Association des Galleries d’Art Contemporain – 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 AGAC’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, I’ve been a part of organizing the fair since the last four years, but yes I’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 it’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. It’s really grown over the last seven years, I really encouraged that we have this kind of event here, it’s important for people, for the social interaction, as well as for people understanding that these things are for sale, and it’s an exciting event to prepare for.
Continue reading “Gesture in Collecting : In conversation with Donald Browne, art dealer at Papier 14”

April 26, 2014June 5, 2019

In all seriousness – Interview with the artist Rachel Shaw

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Rachel Shaw, All Seriousness, 2014. Acrylic on panel. Courtesy the artist and Galerie LOCK, Montreal.

Montreal based artist Rachel Shaw’s solo exhibition is currently on view at Galerie LOCK, showcasing her new series “All Seriousness”: 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 can’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 – a small-scale model of a real-life scene – a window (or at least the absence of a wall) is often as a point of view or observation. Even the word diorama means ‘through that which is seen’, which I think is pretty appropriate. I don’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 you’re in.
Continue reading “In all seriousness – Interview with the artist Rachel Shaw”

April 14, 2014June 5, 2019

Opportunities: Open Call for Proposals 2015 – Hotel Maria Kapel, Hoorn, The Netherlands

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Image courtesy of Hotel Maria Kapel, Hoorn

Open Call for Proposals 2015
Hotel Maria Kapel,
Hoorn, the Netherlands
hotelmariakapel.nl

Deadline: Sunday, 4 May 2014, 23H59 CEST

Application fee: €15

About HMK
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 Holland’s ‘Golden Age’, 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.
Continue reading “Opportunities: Open Call for Proposals 2015 – Hotel Maria Kapel, Hoorn, The Netherlands”

March 28, 2014June 5, 2019

The remainder of the book and other variable formats – Interview with Niekolaas Johannes Lekkerkerk, curator of “Dans Cinquante Ans d’Ici” at Les Territoires, Montréal

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Exhibition view, from left to right: Boris Meister “Above the Cloud – Archeology of Social Networks” (2012), Sebastian Schmieg and Silvio Lorusso “56 Broken Kindle Screens” (2012), Ruth Beale “Now From Now” (2011), Klaus Scherübel “Mallarmé, The Book” (2004). Copyright Les Territoires, Montreal.

Niekolaas Johannes Lekkerkerk is an independent curator, writer and director of The Office for Curating based in Rotterdam, the Netherlands. He curated the group show Dans Cinquante Ans d’Ici (50 Years From Now), currently on view at Les Territoires in Montréal (12 March – 19 April 2014). The twelve artists collective exhibition posits the book as art object, container and concept against the backdrop of ongoing discussions addressing the potential demise of the physically bound volume. Lekkerkerk explains in his interview his urge to look into the dynamics of co-existing analog and digital formats within our current media driven society, to raise the key question: “To what extent have the changes in our relationship with information – and the formats we employ for its transmission – altered our rapport to knowledge and its production?”

M-KOS [MKOS]: How did you develop Dans Cinquante Ans d’Ici into a curatorial project?

Niekolaas Johannes Lekkerkerk [NJL]: From a personal perspective, the exhibition Dans Cinquante Ans d’Ici is the culmination of a previous exhibition cycle entitled Reading Complex, which I developed at various locations in London throughout 2012 together with curator Catherine Y. Serrano. At the time we were interested in – generally speaking – further exploring the relations between viewer-reader and image-text in the context of visual art and artistic practice. For instance, we wanted to look into the fact that we, as viewers, make a narrative reading – an ABC reading – of principally every encounter, whereas the visual evidence we “collect” in order to inform this reading is often incongruous and misplaced. We wanted to link this principle, inherent to our (over)stimulating image-culture, to by what means narrative arcs are employed in artistic practice, and how the connecting of the dots is left to the visitor, so to speak.
Continue reading “The remainder of the book and other variable formats – Interview with Niekolaas Johannes Lekkerkerk, curator of “Dans Cinquante Ans d’Ici” at Les Territoires, Montréal”

March 17, 2014March 17, 2014

Art Marathon: Volta NY [Slide Show]

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Kim Dorland at Angell Gallery, Toronto

POSE at Jonathan Levine Gallery, NY

Thrush Holmes' installation at Mike Weiss Gallery, NY.

Duhirwe Rushemeza at NOMAD Gallery, Brussels

Mohau Modisakeng at BRUNDYN+, Cape Town.

Elisabeth Sonneck's rolled oil on paper works at Brunnhofer Gallery, Linz

Nao Matsumoto's installation with hpgrp Gallery New York, NY. Photo: ©David Willems. Courtesy of David Willems and Volta NY

Robert Larson, CES Contemporary, Los Angeles

Identity Art Gallery (Hong Kong), with works by Atsushi Tawa. Photo: ©David Willems. Courtesy of David Willems and Volta NY

Identity Art Gallery (Hong Kong), with works by Atsushi Tawa.

Wilmer Wilson IV (CONNERSMITH., Washington DC) enacts his durational performance From My Paper Bag Colored Heart to a captivated preview crowd. Photo: ©David Willems. Courtesy of David Willems and Volta NY

the aftermath of Wilmer Wilson IV's performance From My Paper Bag Colored Heart (CONNERSMITH., Washington DC). Photo: ©David Willems. Courtesy of David Willems and Volta NY

Wilmer Wilson IV presented by CONNERSMITH., Washington DC.

Natalie Reis at Trois Points, Montréal

Satoru Tamura, Point of Contact at Tezukayama Gallery, Osaka

Satoru Tamura at Tezukayama Gallery, Osaka

Dawn Black at Cynthia Reeves, NY

Florian Heinke at Galerie Heike Strelow, Frankfurt

Jeffrey Gibson at Marc Straus, NY

Willie Cole at Beta Pictoris Gallery, Birmingham

dealer Guido Maus (beta pictoris gallery, Birmingham AL) holds court in a busy mini-retrospective booth for artist Willie Cole. Photo: ©David Willems. Courtesy of David Willems and Volta NY

John Cox, Popopstudios ICVA, Nassau

Robert Chamberlin, Miller Yezerski Gallery, Boston

Alfred Steiner, Gallery Poulsen, Copenhagen

Jin Joo Chae at Julie Meneret Contemporary Art, NY

Amel Bennys at Selma Feriani Gallery, London

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All photos by M-KOS except where mentioned.

March 17, 2014June 5, 2019

Art Marathon: Volta NY

Mohau Modisakeng at BRUNDYN+, Cape Town. Photo: Â©David Willems. Courtesy of David Willems and Volta NY
Mohau Modisakeng presented by BRUNDYN+, Cape Town. Photo: Â©David Willems. Courtesy of David Willems and Volta NY

Volta 2014 counted a no-mean-feat 20,000 visitor attendance to its four day long SoHo-based art fair, uniquely consisting of solo artist-presentation gallery booths. Sojourning for a second year in its current Mercer Street location, the seven-year-old fair certainly was quick to make a impression on the busy Armory week calendar, from establishing its trademark white-on-black branding to boasting a veritable star-studded string of patrons from Israel, The Emirates as well as numerous local Big Apple-ers.
Continue reading “Art Marathon: Volta NY”

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7 Art Trends at Frieze New York 2014 [Slide Show]