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micaramel · 5 years ago

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Artists: Mathis Altmann, Ketuta Alexi-Meskhishvili, Juliette Blightman, Vittorio Brodmann, Ann Cotten, Monster Chetwynd, Robert Escalera, David Hominal, Luzie Meyer, Josip Novosel, Puppies Puppies (Jade Kuriki Olivo), Pippin Wigglesworth, Jannis Paetzold

Venue: Efremidis, Berlin

Exhibition Title: Reverie

Date: May 22 – July 3, 2020

Curated By: Tenzing Barshee

Click here to view slideshow

Full gallery of images, press release and link available after the jump.

Images:

Videos:

Luzie Meyer, Because such is the cause, (documentation), 1:09

Juliette Blightman, Portraits and Repetition, 2017, (excerpt), 00:53

Juliette Blightman, Portraits and Repetition, 2017, (excerpt), 00:49

Puppies Puppies (Jade Kuriki Olivo), What’s it called when you fuck up in front of someone? I guess to name that emotion you would need to know who you fucked up in front of and what the fuck up is?embarrassment for some people and situations…We al have our moments just ignore me. Feel like shit sometimes but I’m learning to feel better…trying to be kind to an inner child even if it’s embarrassing hearing it’s voice, 2020, 42:39

Samantha Bohatsch, Mixed Feelings, 2017, 03:57 (detail), 00:46

Puppies Puppies (Jade Kuriki Olivo), 03:48 Vivaldi’s Spring (My ring back tone was cancelled when I stopped paying for it. They replaced it with Vivaldi’s Spring. People often think they’ve called the wrong number Britney Spears Toxic Played in loop back to back as long as can be played Or however long the performer is able to be compensated for their skill and time The violinist was named Javier Aguilar Bruno This performance originally took place in Berlin, Germany and we conceived at the very beginning of covid, 2020 Violinist: Javier Aguilar Bruno

Pippin Wigglesworth, Der Frust, 2020, 03:28

Pippin Wigglesworth, Teneriffa, 2020 (work in progress), 03:11

Bitsy Knox, 06:56 – a short text on the origins of the Chimera (detail) – PEGASUS CRAWLING INTO CHIMERA’S STILL WARM BODY AFTER THROWING HER HALF BROTHER FROM HER BACK: AN ANCIENT GREEK FAN FICTION – THE RHYTHM KEEPER: FOR VIVI.

Images courtesy of Efremidis, Berlin

Press Release:

Images courtesy of the artists and Efremidis, Berlin

Press Release:

In the year 1974 American artist Anne Truitt (b.1921) set herself the task of writing every morning when she woke up. There was no time limit to how long she would write, just for as long as she wanted or could around her responsibilities. She started writing as a year-long project because she felt there was little integration between herself and herself as an artist. In the journal, she is referring to the self that is responsible for the domestic chores of maintaining a household, being a mother, and herself as an artist. She goes on to say that as her sculptures began to gain recognition, she felt it was harder to see herself: “It slowly dawned on me that the more visible my work became, the less visible I grew to myself”. Over time, Truitt transformed her integration of the self, she created a space for her thoughts and the self that she didn’t want to include in her work. She continued to create large scale works, divorced her husband and raised her children.

In 2014, I participated in the group exhibition Revelry that Tenzing Barshee curated at Kunsthalle Bern. “Private and public life are intertwined today more than ever before,” he wrote in the press release, “putting our notions of intimacy in constant fluctuation.” It seems felicitous that six years later, Barshee’s exhibition Revelry transforms into Reverie. During the recent pandemic and state-ordered isolation, private and public life merged into a single laggy, glitched experience, not dissimilar to how I recall the opening of Revelry.

Pippin Wigglesworth’s contribution to Revelry was the publication Räume, written like a journal, titled by which day it was, followed by a detailed description of the various rooms he inspected as part of his job day after day; these passages of interiority resonate an entirely different narrative today. His contribution to Reverie asks whether “text and its subsequent publication manages to make contact with those whom we love, have loved and those that ceased to exist.” Before his AIDS-related death in 1984, Michel Foucault spoke of an idea for a book titled “technologies of the self.” He described it as “composed of different papers about the self…, about the role of reading and writing in constituting the self…” Does one write to write or does one write to be read? Anne Bower explores this concept eloquently through letter writing in her 1996 Epistolary Responses: Letter in Twentieth-century American Fiction and Criticism:

“Traditionally associated with women and with the “private” as opposed to the “public” sphere, the letter form engages many feminist issues. At the same time, with its emphasis on the act of writing and writing as an act, the letter permits exploration of postmodernist questions. The back and forth of letters, their desire for reply, their incomplete ownership of information, their concomitant play on ideas of absence and presence, and their apparently personal and private nature, model an interactive openness (although one always knows, paradoxically, that this seeming openness can be used for manipulation and deception).”

Reverie won’t have a traditional opening, the exhibition comes together in a moment when movement is still restricted in many ways. When thoughts and everyday lives have been streamlined even further into a single state of existence. As Jean-Jacques Rousseau writes in the final years of his life, whilst living in exile “There, the noise of the waves and the tossing of the water, captivating my senses and chasing all other disturbance from my soul, plunged it into a delightful reverie in which night would often surprise me without my having noticed it.”

The narrative running through Reverie is reflective of that changing light, as more and more galleries and institutions open up again, works and words are once again physically visible to experience, bound up as they should be, in bodily sensations, color and pop music. The works in Reverie are soft and awkward, some are rude, intense, harsh and tough, hard even. Much like the ebb and flow of everyday life.

There is no substitute to actually being present.

– Juliette Blightman, May 2020

Truitt, A., 1982. Daybook: A Journal of an Artist. Penguin Books 1984, Home. Martin, L. (Ed.), 1998. Technologies of the Self: A Seminar with Michel Foucault. University Massachusetts Press, Amherst. Bower, A.L., 1996. Epistolary Responses: Letter in Twentieth-century American Fiction and Criticism. The University of Alabama Press,Tuscaloosa. Rousseau, J.-J., 2011. Reveries of the Solitary Walker. OUP Oxford, Oxford ; New York.

Link: “Reverie”at Efremidis

from Contemporary Art Daily https://bit.ly/3ec5GRr

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zoekreye · 8 years ago

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Artist: Mathis Altmann

Venue: Freedman Fitzpatrick, Los Angeles

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theartistsocial · 8 years ago

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Mathis Altmann at Freedman Fitzpatrick https://t.co/VRhfNLAJ3i #art #design #culture

— The Artist (@TheArtistSocial) April 18, 2017

via Twitter https://twitter.com/TheArtistSocial April 18, 2017 at 04:21PM

#art #design #culture

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micaramel · 6 years ago

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Artists: Mathis Altmann, Tony Cokes, Moyra Davey, Michel Houellebecq, Hans Haacke, Katharina Grosse, Rashid Johnson, Sherrie Levine, Mark McCloud, Cady Noland, Will Rogan, Jorge Satorre, Cindy Sherman, Gabriel Sierra, Oscar Tuazon, Andra Ursuţa

Venue: 500 Capp Street, San Francisco

Exhibition Title: Amulet or He calls it chaos

Organized By: Bob Linder, Diego Villalobos

Date: March 9 – June 1, 2019

Click here to view slideshow

Tony Cokes, Black September (Evil.2/3), 2003. Single channel video, 2:08 minutes (excerpt)

Full gallery of images, videos, press release, and link available after the jump.

Images:

Videos:

Tony Cokes, Black September (Evil.2/3), 2003. Single channel video, 2:08 minutes (excerpt)

Will Rogan, Eraser, 2014. Single channel video, 6:43 minutes (excerpt)

Gabriel Sierra, La Apertura del Cube (The Opening of the Cube), 2017. Single channel video, 8:4 minutes (excerpt)

Images courtesy of 500 Capp Street, San Francisco. Photos by Preston/Kalogiros.

Press Release:

I think my worst demon is myself….I don’t like to do the same thing over and over again. I like to search out the new frontier and go past the place where I really understand what I’m doing. That’s excitement, to get out in space where some wires might get crossed and there’s no way back to earth.

-David Ireland

…And that song is our amulet. -Roberto Bolaño

The dates become stacked like firewood…1975, 1991, 1992, 2014, 2016, 1985, 1983, 2015, 2003, 1990, 1987, 1980, 2012, 1971, 2018, 2019, 1999, and so on.

Amulet drifts through 500 Capp Street, providing a story about transformations taking place inside “the institution.” He calls it chaos overlaps this story, unfolding an abstract narrative, shifting viewers’ expectations whenever possible. Through the wall, up the stairs, into the explosions, your nose alive, your ears alarmed. The windows shout to the street, while condensation builds inside the cube. Back down the stairs, your reflection is caught in the green hue of her mirror, he is she, and your hands warm over his fire. In the house, installed side by side or overlapping, each work is pulled from a distinct narrative thread.

Abstract as this may seem, exhibitions allow us the opportunity to restructure narrative, to slow down time. Building monuments, or maybe moments that represent meaning—using sculpture, video, and painting as a way to tell stories. This exhibition reflects courage and mirrors, desire and pleasure, and it will sustain and survive, even as destruction or construction continues

constantly. It is science-fiction, fantasy, and authenticity of the most hopeful sort.

Amulet or He calls it chaos, chooses the illogical, philosophical, yet recognizable material world of Magical Realism, while also addressing the power and sensitivity of architecture, gender, politics, and mortality. Crossing wires, searching for new frontiers and getting lost while doing it, Amulet or He calls it chaos, is two simultaneous exhibitions, but also one.

Link: “Amulet or He calls it chaos” at 500 Capp Street

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from Contemporary Art Daily http://bit.ly/2JNiHWY

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micaramel · 7 years ago

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Artist: Mathis Altmann

Venue: Instituto Svizzero, Milan

Exhibition Title: Delve of Spade

Date: September 22 – October 27, 2018

Click here to view slideshow

Full gallery of images, press release and link available after the jump.

Images:

Images courtesy of Swiss Institute, Milan

Press Release:

Istituto Svizzero is pleased to present “Delve of Spade”, the first solo presentation in Italy by the Swiss based artist Mathis Altmann.

“Delve of Spade” is an antiquated term. It is out of fashion, yet evokes weathered, vintage desires. Rarely used in contemporary English, its German equivalent, Spatenstich, is commonly used to describe the ceremonial act of breaking the soil to celebrate the construction of a new building. It is an artisanal first dig, executed by hands before heavy machinery takes over. It is a nostalgic act that harkens back to bare naked human effort and the suffering blistered hand.

Altmann’s exhibition connects issues mined in his previous projects this year: the growing ubiquitousness of tech-related aesthetics in urban architecture, commerce, and social interaction. Resonating from his sculptures is an attempt not to lecture, but to render inefficient these same objects that power commercial desirability. Claims on clear positions disappear into a dreamscape, and questions about models of rejection and embracement appear.

Central to the exhibition are new sculptures and an installation which mock open workspace environments, a common aesthetic turned global phenomena throughout trade-oriented metropolitan centres. These areas designed for the needs of cognitive workforces and new form of mobile, transient labour. Homogenous and repetitive, so recognizable so as not to distract. Streamlined for efficiency. Easy to plug into.

Altmann’s commute to his studio in Los Angeles takes him through an explosion of the latest test-epicentre and its offshoot urban developments. One of them is known as “The Arts-District”, a former industrial dead-zone turned “Fallout zone”(in the artist’s words), supercharged with designer protein supplements and real estate on steroids that intimidate neighbouring cities.

Capturing encounters in the “Fallout zone”, Altmann funnels materials and re-created developments into narratives for his sculptures. In “Delve of Spade”, like in a play or film, objects become scenographic tools.

Link: Mathis Altmann at Instituto Svizzero

from Contemporary Art Daily http://bit.ly/2Jm12mi

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micaramel · 7 years ago

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Artists: Rosa Aiello, Mathis Altmann, Ed Atkins, Sammy Baloji & Filip De Boeck, Dora Budor, Juan Caloca, Gina Folly, Isa Genzken, Stuart Middleton, Fernando Palma, Francesco Pedraglio, Tania Pérez Córdova, Laure Prouvost, Diego Salvador Rios, Jorge Satorre, John Skoog, John Smith, Hito Steyerl, Lewis Teague Wright

Venue: Casa Tomada, Mexico City

Date: April 7 — May 5, 2018

Curated by: Anna Goetz

Note: The press release is available for download here.

Click here to view slideshow

John Smith, excerpt of The Girl Chewing Gum, 1976, 16mm transferred to B&W video, 12 minutes

Full gallery of images, videos and link available after the jump.

Images:

Videos:

John Skoog, excerpt of Reduit (Reducto), 2014, HD video, 14 minutes 33 seconds

Rosa Aiello, excerpt of Temper, 2016, 1 channel HD video, 19 minutes 18 seconds

Gina Folly, documentation of Basic Needs XVI – XXX, 2018, cardboard boxes, locks, keys with keychain, mini projectors, looped video

Stuart Middleton and Ed Atkins, documentation of Hisser, 2015, 22 minutes

Images and videos courtesy of the artists and Casa Tomada, Mexico City

Link: Group Show at Casa Tomada

from Contemporary Art Daily http://bit.ly/2rlzCnZ

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micaramel · 8 years ago

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Artists: Mathis Altmann, Jill Mulleady, Lucie Stahl, Hannah Weinberger

Venue: MD72, Berlin

Organized by: Freedman Fitzpatrick, Los Angeles

Exhibition Title: Four Rooms

Date: September 12 – October 14, 2017

Click here to view slideshow

Full gallery of images, audio, press release and link available after the jump.

Images:

Audio: Excerpts of the Hannah Weinberger audio installation are available: 1, 2, 3, 4, 5

Images and audio courtesy the artists; Freedman Fitzpatrick, Los Angeles; and Galerie Neu, Berlin. Photos by Stefan Korte.

Press Release:

Four Rooms for visitation. Partly occupied. Possibly populated. Featuring Mathis Altmann, Jill Mulleady, Lucie Stahl, Hannah Weinberger. Ring the bellhop.

Please step forward. Shhhhh. Are you whispering? You’re not invisible. This was staged. The sounds of people echo here. Yes, maybe it’s a neighbor. Those are the sounds of desire. Do you have hearing problems? Please go left.

Property. The most inalienable right. No. To own it. Shave off the trimmings of domestic aspirations and you’ll find all those adored treasures cast away. Primary to secondary markets, shifting tastes aren’t planned obsolescence. In a pyramid scheme, only the top can reflect upon itself. It’s a sign of the times. London Sensitive. Hands in the pockets. The heart of the matter is for seeing, not touching.

Crossing the threshold now.

Heading inwards. Warm enclosures unfurl into an abyss. Origins are mysterious territories. Die Landschaft. Der Vaterland. Die Muttersprache. Semiotic sex changes. Yes, this is a battlefield. Listen, can you hear it? Crimson. Is screaming the only way to be heard? An informant.

Moving forward.

The air is thick. Shadow grabbers aren’t always fictional. The purple carpet masks the stains. Here… Every surface turns inwards. A trap of color with no way out except into the flames. The view is nauseating. Poisonous things. Care for a cigarette? The train was never taken. Stop. That isn’t a painting, it’s a reflection.

Sensual memories live in the tissues. Huff it. The cauldron boils. Pink pets chatter and erections swim in the pool. Boozy neighbors. No control. The gossip is louder. So hot it sizzles. Wash up. You can’t text here. Do you need gas-x? Excuse me!

Oh, and don’t lock the door…

Link: “Four Rooms” at MD72

from Contemporary Art Daily http://bit.ly/2gl1nsf

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micaramel · 8 years ago

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Artists: Kenji Ide, Ayako Ohno, Koji Nakano, Mathis Altmann

Venue: Galvanize, Ishinomaki

Exhibition Title: Do Sculptors Dream of Electric Car ? (TOYOTA prius)

Curated by: XYZ collective, Tokyo

Organized by: Kaoru Arima for the Reborn-Art Festival 2017

Date: July 22 – September 10, 2017

Click here to view slideshow

Full gallery of images, press release and link available after the jump.

Images:

Images courtesy of XYZ collective, Tokyo

Press Release:

XYZcollective is pleased to announce “Do Sculptors Dream of Electric Car? ( Toyota Prius)“ at Galvanize Gallery, as a conjunction with Reborn-Art Festival 2017.

Dear Ishinomaki ,

We, XYZcollective, have collected ten pieces of sculptures from Tokyo and Los Angels. Then we loaded those sculptures in an electric car (Toyota Prius) and headed from Tokyo to Northern Japan. On the way, we stopped by Nasu Highland Highway rest stop and to Hamaguri (clam) Beach. Finally, we exhibited the works at Galvanize Gallery in Ishinomaki, Miyagi Prefecture .

Link: Group Show at Galvanize

from Contemporary Art Daily http://ift.tt/2x29B2e

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