The fine line between existence and non-existence as well as the investigation of scientific and social borderline areas form points of departure for Armin Boehm’s paintings. His visual concepts often refer to avant-garde literary movements from the early 20th century, he revives the question of the definition and contextualisation of mankind and human thought found therein, and brings it up to date using the means of painting. In his compositional practise the artist creates sceneries in which the materiality of the depicted motifs evolves in the layering of shape, colour and collaged elements – here Boehm revokes, dissolves or prescinds the figurative character of an image immediately during the process of painting it. Existence and disappearance take effect in the texture of the surfaces, as well as the pictorial space of Armin Boehm’s paintings. So, Boehm makes the question of the possibilities within a picture the subject of his painting.
The new Phil Collins’s exhibition at Marabouparken is a good chance to show a clip from the many recordings of the video installation the world won’t listen by the audience.
Collins often works in socially and politically contested regions, employing elements of popular culture, low-budget television and reportage-style documentary to articulate a form of critical proximity to contemporary media—both a fascination with and wariness of the ways in which they structure the lived experience itself.
For the exhibition at Marabouparken, Collins will present his acclaimed three-part video installation the world won’t listen. Filmed in Colombia, Turkey and Indonesia, the trilogy features fans of the influential indie-rock band The Smiths performing karaoke versions of tracks from their 1987 compilation album of the same name. (more…)
A project by Nomas Foundation
Curated by Cecilia Canziani and Ilaria Gianni
Artists: Duncan Campbell, Anja Kirschner and David Panos, Renzo Martens, Deimantas Narkevicius, Hito Steyerl
And a work by Rossella Biscotti
Recounting, translating, sharing, reflecting, developing, transforming, revealing, disclosing, enchating. A film cycle, analyses through the works of five internationally acclaimed artists the way in which documentary film tackles the narrative device, develops the construction of stories and the transmission of history and reality.
A film cycle is a two days festival including film screenings and artist’s talk that focuses on works by Duncan Campbell, Anja Kirschner and David Panos, Renzo Martens, Deimantas Narkevicius, Hito Steyerl.
Each session is articulated in three parts: the screening of the artist’s film, a Q&A session with the public and the projection of a film or extract from a film of a filmmaker that the invited artist indicates as a reference for his/her work. La cinematografia è l’arma più forte by Rossella Biscotti will be screened as an intermezzo before the beginning of each session, introducing the audience to the ambiguities of the political and economic investment in the cultural environment.
Through the works of the selected artists A film cycle fosters the audience to question the way in which memory is conveyed, how we represent history and construct the documental, how we re-write our past and present diverse readings of our traces, how we protect and transmit the singularity that every single life represents vis à vis the great economic, social, political changes which we are witnessing today.
The celebrated American artist Richard Prince has been ordered to destroy works worth tens of millions of dollars after a court ruled that the paintings, which reworked a series of photographs by the French photographer Patrick Cariou, had breached copyright.
A New York federal court has ruled that Prince and his gallery infringed Cariou’s copyright when he produced a series of works in a 2008 show using 35 pictures from the book Yes, Rasta, published by Cariou in 2000, “in their entirety, or nearly so”.
Prince adapted the Cariou works by adding, in one instance, an electric guitar and some splodges for eyes.
The ruling, which may lead to an appeal, stands to cost Prince and the Gagosian, one of the world’s leading contemporary galleries, with outlets in London and New York, potentially huge sums. Eight of the works from the exhibition, which was entitled Canal Zone, have together sold for more than $10m (£6m). Seven others have been exchanged for other works of art for between $6m and $8m.
Prince has often made a virtue of his appropriation art. His images are sometimes taken from old advertisements in magazines. He told Art Forum magazine in 2003: “I had limited technical skills regarding the camera. Actually, I had no skills … I used a cheap commercial laboratory to blow up the pictures … I never went in a darkroom.”
January 30 – March 12, 2011
Overduin And Kite – 6693 Sunset Boulevard, Los Angeles
Ed Lehan asked me for a painting that was hanging in my flat. I gave him one. It was made in 1990 & meant to be a generic abstract. Now I said OK if I give you a painting then you must make me 20 copies, 20 identical, readymade, abstract paintings. OK this happened and here they are, they are about not being an assistant and not having one, ethical pure exploitation, and like totally also about how in the intervening 20 years, a generic abstract definitely means something different to back then, it incorporates “net” knowledge, curation and postnonirony like the change from acid house rave music to the garage music of today?s London scene.
- Merlin 27.1.2011
March 18, 2011 – h.19.00
Bugada & Cargnel - 7-9, rue de l’Équerre – Paris
Blonde is an artist’s book by Nico Vascellari, printed in 500 hand numbered copies + 33 multiples including an original work, numbered and signed by the artist. Published by NERO in collaboration with Hospital Productions.
Conceived both as a book and an artwork, Blonde is a collection of images from one of the artist’s personal archives: a selection of 200 press clippings titled “Blonde”. Each press clipping has been reproduced in its own original format on 80 gsm glossy paper, as ripped and collected by the artist over the last ten years. The whole collection, printed on unbound single sheets, is packaged in a black cardboard box, silkscreened and individually numbered.
The pages of this publication derive for the most part from fashion magazines. The iconographic theme of “the blonde” is represented obsessively. The sequence of the images is random, as is the selection of press clippings. This archive reflects the artist’s personal fetish for the image, in this case of blondes and their collective representation.