An exhibition organized by Brad Ewing and featuring work by
Grayson Cox + Daniel Bozhkov
Lothar Osterburg + Ellen Driscoll
Megan Plunkett + Seth Zucker
Zoe Sheehan Saldana + Charles Moody
David Storey + John Dilg
May 22-July 3, 2013
Opening reception Wednesday May 22 from 6-9pm
107 W. 28 St.
New York, NY 10001
La Hora Garrobo, 2013, © Jhafis Quintero
Loop Art Fair, Barcelona * 23 – 25 May 2013
La Hora Garrobo,video, 2013, Premiere
This video by Jhafis Quintero, produced specifically as a Première for LOOP, is the fifth of a series of ten videos, one for each year the artist spent in jail. La Hora Garrobo refers to the weight of time, to the sense of repetition and lack of future that characterizes life in jail. The harrowing sound of time that the artist included in La Hora Garrobo further deepens the anxiety of endlessness. And indeed, jail, here, as in other works by Quintero, means as much our psychological, social or emotional jails as any physical, "real" jail. Quintero uses his personal experiences to confront us to our own imprisonments, inability to communicate and fears. La Hora Garrobo is also about the body – the artist’s body as in all Quintero’s Haiku-like videos – the body, this irrevocable envelope that makes us human, enjoying sunlight or suffering form the lack thereof. Sunlight as the source of time, as evidence that the time of freedom might come back. In reality Quintero’s art is not about jail, it is about life. And about beauty: the esthetic dimension of his videos is breath-taking.
We only exist when we communicate, 2010, © Jhafis Quintero
La nuit des Musées, Chateau des Adhémar, Montélimar * 18 May 2013
We only exist when we communicate, video, 2010
This video is inspired by the so-called "solitary confinement": special punitive imprisonment with no possibility for communication. In order to overcome "the limitation of being just a single person" (Diane Arbus), the inmate opens a hole in the wall of the cell and screams to the other on the other side of the wall. Both partners in communication tend to protect themselves by carrying a knife and avoiding becoming a fix target, while the viewer soon understands that the prison is just an allegory of our absolute need and infinite fear to interact with the other.
Knock-Out, 2010, © Jhafis Quintero
55th Venice Biennale * 1 June – 24 November 2013
Protesis, performance, 2013 and Knock-Out, video, 2010
In this video, Quintero boxes himself in a ludicrous play with another self – a video projection of himself. The protagonist, i.e., the artist, the inmate, the man, has a shadow, while the "other" does not – is it a vampire then ? The artist thus visually explores the struggle of establishing an effective dialogue with our own hidden self(s) as our most intimate enemy and tells us about our difficulty to reconcile our manifold faces. Such reconciliation however is an indispensable step towards any possibility of dialogue with each other : "Knock out" is not the way to go.
image : Burn, USA, 2002 by Reynold Reynolds and Patrick Jolley
On May 14th the next VideoForever session will be hosted at Frank Perrin’s Studio. Starting at 7pm.
The current infinite expansion of art and creation, the reign of appropriation, the trivialization of sampling, draw a deeply changing contemporary landscape. Beneath the still long-lasting more conventional works, we contemplate the emergence of renewed " baroque " forms, which abolish the thematic, stylistic and symbolic constraints and favor the multiplicity of creative approaches, the overflowing forms, and the never ending variety of art works. The video artists presented constitute an informal group characterized by the deep joy of creation, by the multiple references they dig out the history of the arts and revisit in their very personal way, and by a constant intermixing of our surrounding world and their own artistic personality. While actively questioning contemporary existence, they work at deepening their own baroque artistic individuality: take it all and make more out of it.
Contemporary Baroque as considered by art historian Paul Ardenne also includes the relationship to religion, the accumulation of forms being meant as a curtain to conceal the presence of death, and specific symbols such as fire, mirrors, gold, blood, swans… In his introductory conference, Paul Ardenne will also make reference to the Baroque as approached by Gilles Deleuze and compare and distinguish the classical baroque from the recurrent baroque of today.
With videos by
Aline Bouvy & John Gillis, courtesy Galerie Nosbaum & Reding, Luxembourg
Clayton Burkhart, courtesy Première Heure & Claire Marquet
Angie Eng, courtesy the artist
Vidya Gastaldon & Nathalie Rebholz, courtesy the artists
Claudia Hart, courtesy the artist
Marie Hendriks, courtesy the artist
Gabriela Maciel, courtesy L’Espace L, Genève
Andrea Mastrovito, courtesy the artist
Shana Moulton, courtesy Gregor Staiger, Zurich
Reynold Reynolds & Patrick Jolley, courtesy the artists
Frances Scholz, courtesy the artist, Cosima Von Bonin & Stop/the/bus productions
and a few more
After the projection, Nelson Beer will play a progressive baroque composition with digital instruments.
Please joint at :
Frank Perrin’s Studio
22 rue Visconti
door code : "P"
Joanna Malinowska and Christian Tomaszewski, Mother Earth Sister Moon, 2009. Performance view, Zachęta Gallery, Warsaw, April 5, 2013.
THE LAST TIME I saw New York–based Polish artists Joanna Malinowska and Christian Tomaszewski was at a party in Brooklyn. The guests were asked to set their inhibitions aside and howl together like a pack of wolves (or was it coyotes?) in preparation for a participatory group performance Malinowska was staging as part of her contribution to the 2012 Whitney Biennial.
Nothing quite so taxing, or invigorating, was required of the elegant crowd gathered around the giant Tyvek spacesuit for the opening earlier this month of Mother Earth Sister Moon at the Zachęta Gallery in Warsaw. The spacesuit was a dubious homage to the first woman in space, the Russian cosmonaut Valentina Tereshkova, by way of Niki de Saint Phalle’s iconic 1966 hon-en katedral (she-a cathedral) sculpture made with Jean Tinguely. The only beast in our midst, on this occasion, was a man dressed up as a Siberian bear, an allusion to the never fully elucidated Tunguska blast of 1909, which frequently crops up in sci-fi novels and films from the Soviet era.
A collaboration between the two artists, the installation-cum–fashion show was conceived for Performa 09, and subsequently included in the 2010 “Star City: The Future Under Communism” group exhibition at Nottingham Contemporary. Shown for the first time in Poland, as a curious addendum to “The Splendour of Textiles” exhibition curated by Michał Jachuła, Mother Earth Sister Moon looked and sounded different in its third and final iteration. For one thing, the supine figure had been dismembered—a gloved hand here, a severed leg there, a large red liver hovering above us in midair like a remnant from some explosion.
Whereas on previous outings the fashion show took place inside the spacesuit, with the audience huddled round, at Zachęta a makeshift scaffolding accessed through two side staircases served as an aerial runway for models (and the bear) to parade on above the discarded suit, before descending into it and reemerging through a narrow vaginal slit between the figure’s amputated leg. Unlike in New York and Nottingham, where volunteers of all ages, sizes, and ethnic-origin had participated, the models this time came from an agency, which accounted for the greater uniformity in their appearance. Sporting futuristic hairdos with add-on fringes, courtesy of “avant-garde” celebrity stylist Jaga Hupało, they wore an impassive, droid-like expression that kept with the sci-fi theme of the show.
More or less flattering and outrageous, the thirty-seven costumes come in a subdued palette of black, white, grey, and washed-out colors meant to evoke an archival photograph. (Reproductions of film and cultural magazines from the 1960s and ’70s, their covers collaged and altered by Tomaszewski, were mounted on the walls.) The outfits draw inspiration from a variety of sources, from period filmic and literary materials to costumes worn by indigenous people of Siberia (the Evenks and the Tungusi) that Malinowska and Tomaszewski came across while traveling in the region. They reference avant-garde trends and communist pop culture alike, from Krzysztof Wodiczko’s The Personal Instrument, performed on the streets of Warsaw in 1969, to the Relkas boots popular in the ’80s.
Details such as these would no doubt have been lost on a non-native audience. The same goes for the eerie, composite musical accompaniment to the show. Besides bits of the original soundtrack composed and mixed live by Masami Tomihisa in New York, it featured strains of Beethoven’s Moonlight Sonata as well as liberal doses of alternative ’80s Polish rock bands, Pancerne Rowery chief amongst them, which elsewhere might have fallen on deaf ears.
— Agnieszka Gratza
The installation of Mother Earth Sister Moon is on view through May 19, 2013 at Zachęta Gallery in Warsaw.
Read the original article on ARTFORUM website
Au Salon du Livre à Genève le 1er et le 5 mai
Au Palais de Tokyo, Tout dépendait du temps de Jean-Michel Pancin
Le mercredi 15 à 18h : Dans le cadre du Module Jean-Michel Pancin, rencontre "Tout dépendait du temps…" avec l’artiste, Barbara Polla et leurs invités.
Cellule 209, 2012, Jean-Michel Pancin,
Au Festival de Lasalle, le mercredi 8 mai à 18h pour une conférence autour du film Herman’s House.
Plus d’info ci-dessous :
Lire l’article de Barbara Polla, La Prison Autrement, paru dans La Tribune Libre du magazine L’Extension , en suivant ce lien
Lire l’article de Barbara Polla à propos du livre L’Ennemi Public, paru dans le magazine L’Extension , en suivant ce lien