opening December 1, 2011
December 2, 2011 – January 21, 2012
Fluxia - via ciro menotti, 9 – Milan
“If we imagined instead of a manufactured object a sharp obsidian stone existing before life, we could ascribe to it that same capacity to cut, a capacity it occasionally exercised on softer rocks that fell on it. But when living creatures large enough to be pierced by the stone appeared on this planet the stone suddenly acquired the capacity to kill. This implies that without changing any of its properties the possibility space associated with the capacities of stone became larger. This sudden enlargement of a space of possibilities is even more striking when we consider interactions not between a stone and a living creature but those between different species of living creatures, or of living creatures like ourselves and an ever increasing number of technological objects.”
- Manuel De Landa, The Speculative Turn, Continental Materialism and Realism, re.press, Melbourne 2011
For the project presented at Fluxia, Si-Qin activates the narrative potential surrounding the gallery by traveling to Oria, the hometown of Valentina, one of the gallerists. There he meets her father, Ennio, a medieval reenactment hobbyist, and proceeds to shoot a video of the gallerists (Valentina and Angelica) shooting modern firearms into the father’s pieces of medieval armor — a simulated anachronistic battle doubling as the act of artistic production. The video alongside the objects themselves are presented as works in the exhibition.
Legend is a context-specific project, dealing not only with the gallery as a physical entity, but also as a personal, social and material space of interaction. These multiple layers of networks and the connections between them constitute a system of stories surrounding the gallery and the production of each exhibition, a narrative potential that plays a significant role in determining the exhibition itself, becoming a sort of invisible extension of the artwork’s medium.
29 November 2011
Fondazione Antonio Ratti – Villa Sucota, Via per Cernobbio, 19 – Como
The fifteenth encounter of The most beautiful Kunsthalle in the world takes the shape of a workshop dedicated to probably the most complex and controversial problem of the exhibiting practices of contemporary art, as it will analyze the history, role, and physiognomy of the curator.
For this, the Antonio Ratti Foundation invited nine amongst the most prestigious researchers, thinkers, and curators to discuss three specific aspects of the question in cause: the historicity of the figure of the curator: the origin and transformations of her/his role and function during the second half of the Twentieth century;
The format of the exhibition, or better that of the exhibitions, as we need to think in plural to cross the whole range that goes from the monographic to the thematic show, to the diverse manifestations of the international large exhibitions;
- the plurality of the institutions and the role of the curator within them, from the museum, where the problems of the permanent collection cross those of the exhibition practices; to the contemporary art centres, art galleries and the periodical manifestations that spread on the shadow of the Venetian Biennale.
November 11 2011 – ongoing
Galleria Lia Rumma – Via Vannella Gaetani 12, Naples
One day I saw Spalletti arranging his easels in the studio in a different fashion. I asked him why. He replied that he was working on the exhibition for the Lia Rumma gallery in Naples. He wanted the space to be emptied and the ?oor to be washed. I observed him as he walked around the studio in search of light and shadow as if he was trying to find an image and then liberate himself from it the very next moment. The geometry of the studio gradually was decomposed by the regular edges of the easels. I felt that he had already de?ned a sequence although I still could not understand it. Spalletti prepared the paintings meticulously. The rear of the painting was covered because he does not like smudges. He paints with the canvas placed horizontally; he explains that in this way the paint can be spread on more evenly: “the paint is spread, it dries, thickens and settles”. (more…)
text by Simone Klein
On the occasion of Reena Spaulings exhibition More Michael Paintings at Indipendenza Studio (October 24 – January 14, 2012 – Via dei Mille, 6 – Rome) we asked the artist some questions.
Artists have often become art dealers; the Spaulings story flips the order around. Is that so? Were you essentially first an art dealer, or an artist? The first artwork you ever sold or gave away, were you the creator of it, or was it a product of someone else’s artistic dedication?
Chronologically, Reena Spaulings the gallery came slightly in advance of Reena Spaulings the artist. But some of the people working under the name Reena also work as artists under their own names, and were already making work on their own, long before the gallery existed. Working as Reena allows us to work differently, and to work in relation to the gallery as a specific site and function. It can be liberating to not always be ourselves when we work, to forget the artists we may have been.
The main character of novel is facing the ‘who am I?’ question. Is one conscious when granting the inner self to be sculpted by the human context of his existence. Does humanity still acknowledge the fundamentality of the question ‘Who am I in context?’ ‘Who am I as an individual?’
I’m not sure we would want to speak on behalf of humanity. Reena the novel was written by many. The main character moved across many laptop screens as the book was being produced in this networked, multiple space. The specific context was post 9-11 NYC. The individual was being massively re-produced, our worlds increasingly customized, and we were interested in opening up another sort of space, a whatever-space. Who are we in whatever-space?
Various artists (Bernadette corporation) wrote one novel together, meaning the narrative structure is at constant flux. Thus, a single character’s self is permanently shifting because it is determined by the exterior influences?
Yes, there was always the possibility of constantly rewriting the main character as she was passed around that way. She also became a Sonic Youth song, the first track on their record Rather Ripped.
November 24 – December 22, 2011
Alison Jaques Gallery, 16-18 Berners Street, London W1T 3LN
In the Wandering Comma exhibition, Ryan McGinley’s explores his most impressive styles; Black and white portraits, and the radiance of spontaneity in nature.
“My photographs are about removal: bringing people to nondescript locations, to places that aren’t recognizable, removing their clothes, capturing them with a very limited style palette. I try to think about how timelessness, isolation, and style interact.” Ryan McGinley, Artforum, September 2010
For his first London exhibition since his celebrated ‘Moonmilk’ series, Ryan McGinley has assembled seven new photographs, all in the largest format the American artist has yet worked in. Scale is one of the central variables in McGinley’s practice, as each photograph taken is initially printed in an array of sizes in order to fix the exact dimensions that allow the image to speak most effectively to the viewer. All prints in other sizes are then discarded. McGinley rarely produces his artworks at this 280 x 180 cm format, the maximum size, and only does so when the photograph truly calls for a vast canvas – an expanse that demands a heightened scrutiny from the viewer, as it does more attention on the part of the artist. (more…)
November 4 – December 23, 2011
Bortolami Gallery – 520 W 20th Street – New York
Hot Earl Green Sausage Tea Barbie (First Flush) is conceived as a continuation of his current Total Self-Portrait show at GEM (Museum voor Actuele Kunst) in The Hague, Netherlands. The exhibition includes a large-scale installation in the main space, in which photographs, posters, painted panels, bronze sculptures, paintings and wooden structures, act as a contemplation of himself as artist, a personal exploration of his assumed role. Since Meese’s days as a student, performance and installation have been a pivotal part of his art, both formally and in content, always related to theater and film. His installations have been platforms for his ideas about the autonomy of art, which he expresses in the ubiquitous term “Dictatorship of Art.”