La Carte D’Après Nature – An exhibition curated by Thomas Demand

Luigi Ghirri, <em>Lido degli Estensi</em>, 1978 <br>Vintage color photograph <br>4 x 3 1/8 inches; 10 x 8 cm

July 19 – October 8, 2011
Matthew Marks Gallery - 522 W 22 Street, New York

The exhibition features three rarely seen paintings by René Magritte (two on loan from The Menil Collection, Houston). It takes its name from a journal published by Magritte between 1951 and 1965, in which he collected ideas from different times and places, relating them to one another byway of shared threads of thought. In the exhibition, Thomas Demand gathers works by artists whose concern with the natural world connects them across spatial and temporal distances to his starting point, which is Magritte’s work.

Thomas Demand has selected a wide variety of sculptures, photographs, and films for the exhibition, which will be installed in intimate spaces defined by labyrinthine walls based on a drawing by the artist Martin Boyce. Among the included works are 60 vintage color photographs by the Italian photographer Luigi Ghirri, early photographic works by August Kotzsch, sculptures by the young artists Saâdane Afif, Becky Beasley, and Kudjoe Affutu, an architectural model from Montreal’s Expo 67 designed by William Kissiloff, and a pair of Cubist “trees” made by Jan and Joël Martel for the 1925 Exposition International des Arts Decoratifs, as well as films by Tacita Dean, Ger van Elk, and Rodney Graham. The Swedish artist Henrik Håkansson has made a new sound work of birdsongs in Central Park for his contribution to the exhibition.

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Pablo Bronstein: Sketches for Regency Living



June 9 – September 25, 2011
ICA – Institute of Contemporary Arts

Eclectic artist Pablo Bronstein presents Sketches for Regency Living, a groundbreaking exhibition in which, for the first time, an individual artist works across the entire ICA introducing major architectural interventions, as well as choreographing extraordinary art and ballet performances.

Sketches for Regency Living penetrates every area of the ICA; the exhibition modifies the entire space embellishing the museum with forms that reference the Regency period, while visitors encounter neo-classical structures and daily choreographed performances. One of the most interesting aspects of this exhibition is the relationship which the artist encourages between the museum and its own identity. His work demonstrates an affinity for how architecture and sculpture intervene in personal identity and inform our movements and social mores. Intimate and stylized tours through the building-wide exhibition, inspired by guided visits around historic properties, offer an insight into the history of Nash House and Bronstein’s work.

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Braun BOTY

Braun BOTY is the biggest worldwide b-boying competition. A total of 35 qualifiers will be held in different countries, with approximately 3000 b-boys in 350 crews participating. Thousands of spectators watch the crews battle it out, and the 12,000 tickets for the final in Montpellier are virtually sold out.  Following its long-term commitments to b-boying, Braun and its cruZer range of shavers and trimmers are proud to present the 2011 edition of the Battle of the Year. Also involved are Braun cruZer Ambassadors Ronnie Abaldonado (Braun BOTY judge and b-boy champion) and headliner DJ Lean Rock.

OCEANOMANIA: SOUVENIRS OF MYSTERIOUS SEAS

Courtesy in situ/Fabienne Leclerc, Paris

April 12 – September 30, 2011
Nouveau Musée National de Monaco

A new project by Mark Dion is held in Monaco both at Villa Paloma, one of the NMNM‘s exhibition spaces and at the Oceanographic Museum. Dion’s project examines our perception of the oceans and engages our sense of wonder at its diversity and our melancholy at its depletion. Investigating the development of our fascination with the sea in time and space, design, literature and art, Dion reveals how the uncanny and the marvelous have inspired artistic research through time.

The artist creates a display which is a huge Wunderkammen where a lot of objects from or about the sea are mixed together respecting the mysterious and the collecting attitude of the wonder rooms which were developed during the European Renaissance. Dion’s intervention at Villa Paloma brings together works by 20 visual artists. They show different aspects relating to our understanding of the sea and the ocean. They focus on the ocean not only as a site for exploration and discovery but also as a site where there is often unregulated and invisible human labor and exchange and where the marvelous aquatic life and mineral resources are often neglectfully exploited.

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Measuring the World – Heterotopias and Knoledge Spaces in Art

Sigg Collection, photo via http://www.museum-joanneum.at/en/kunsthaus

Ai Weiwei, "Map of China", Sigg Collection,
photo via http://www.museum-joanneum.at/en/kunsthaus

June, 10 – September, 4, 2011
Kunsthaus Graz

The Kunsthaus Graz hosts this interesting exhibition with many works from the late 1960s to today. It explores questions both of ancestral memory and artistic concern. Museums, like all exhibitions with the things they contain, set themselves up as pared-down portrayals of the world, becoming catalysers of a possible understanding and revelator of abstract realities. If it is possible an artistic measurement of the world this exhibition provides a wide answer with the works of very interesting artists. In every case it seems clear to the curators themselves that each answer is never closed and we don’t have any prefabricated code in order to measure our world. Images are views of the world whose specific structure generates, produces and renders visible a view of the world. Works of art that produce ordering systems or develop systematic structures generate an ordered image of the world. It is in this sense that the exhibition looks at the way contemporary art designs ordering systems and focuses on the act of measuring.

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Rebus

ja_zakk-wylde-ii_2008_c4571

June 21 – September 03, 2011
Simon Lee gallery - 12 Berkeley Street – London

The use of industrially manufactured items rather than handmade goods or, as in the tradition of art, of objects, surfaces and photographic images made directly by the artist, represents a method and a system which in waves is ever present through the last Century to the present day. The object in question can be presented by itself, assembled with other objects, incorporated into a “traditional” painting or sculpture, manipulated, distorted, or framed within a purpose-made structure. In all these cases and any other variation, it is the context of the exhibition space which above all causes the work to be seen, enjoyed and consumed as a work of art.

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