BLOG

2012-04-03T16:57:52Z

⇈ Date of Last Update

+Best Press Release Ever

2012-04-03T16:57:32Z

Press Release:

exhibition design – DAS INSTITUT
consulting – UNITED BROTHERS
1 Plinths2 – Martino Gamper
photography – Lucas Knipscher
Pop-Up Store – Adele Röder
consulting – Lydia Rodrigues
COMCORRÖDER host – Lydia Rodrigues
THUS! Unit(s) – DAS INSTITUT
Tanning beds3 – UNITED BROTHERS
roller blinds – DAS INSTITUT

The project: A massive multiplication (and therefore creation, obfuscation and perpetual annihilation) of the self.

The basis (or rather the necessary fiction—or rather the door to the maze) being Kerstin Brätsch and Adele Röder. Begin, then, here, now, with them. “Begin, ephebe, by perceiving the idea of this invention…”4

Kerstin Brätsch. Glow Rod Tanning with…. The subject: the suffering of painting. The aim: to cast a damning light on painting.5 A painting always asks, craves, to “be in the right light” (to find its place under the sun…). But imagine a Vermeer hanging in a garage: It would suffer. The transparent paintings are exposed to artificial light—to aggressive light.6 Backstage light. They are scrutinized and dissected. And, as in an x-ray, each painting MUST fail—fail its beauty—because nothing is hidden.

Adele Röder. COMCORRÖDER. En-Lightening / En-Visioning / En-Signing “How to overcome the rigidity of fabric, it’s inanimate material being, regular and abstract, and unfold its possible forms projected onto a woman’s body [a world’s surface?] How to obtain plastic effects that can highlight, without the use of touch, the metric features of weave, thickness, weight and color? How to proceed from the idea of De-Sign towards the idea of En-Sign?7

1 Ei and Tomoo Arakawa. Tomoo runs a suntanning business named Blacky (near Fukushima).
2 (3 units = 1 table)
3 for BLACKY Blocked Radiants Sunbathed from Glow Rod Tanning Series by Kerstin Brätsch for DAS INSTITUT and UNITED BROTHERS
4 …this invented world, / ?The inconceivable idea of the sun.” (cf. being in the right light)
5 Poussin on Caravaggio, “to destroy painting”
6 There are also cryptic aggressors in the paintings: hair, fishbone, fluff, spines… 7 pirate copied from Antonella Huber

LINK TO EXHIBITION

+Massive Curatorial Gesture

2012-03-17T00:17:46Z

Renaming every exhibition in the history of everything: NATURAL SELECTION

+Gerhard Richter Painting

2012-02-24T05:47:39Z

Thank you, Gerhard, for supporting my feeling that the painter is a performer at best, and paintings their choreography (or DVDs). I’m also super glad you’re playing yourself and not getting Ed Harris to do it. I look forward to watching children recite the Richter behavior for years to come.

p.s. Smooth site www.gerhardrichterpainting.com

+Uh Yeah

2012-01-14T06:54:11Z

-It’s All Over

+Highly Recommended

2012-01-13T19:52:55Z

-Bradley Wester on de Kooning

This past week I had the opportunity to see the de Kooning retrospective at the MoMA. The walk-through was everything expected: a massive cavernous vacuum of mid 20th century painterly heroics accessorized with exhibition design that felt very of the era. However, after the evening concluded, upon returning home, Bradley Wester read us an article that he’d written the year of de Kooning’s death. Immediately, everything human about the exhibition, that I was unable to find through the roaming mob of followers and wall texts, clapped its way into my memory as I backtracked my recollections in order to match up the little narrative with its things.

The article can be found at Bradley’s blog, here.

-Making Art Go Public

This “lively” discussion between Maria Lind and Jens Hoffman appropriately represents the polarities that exist between conservative and experimental modes of thinking about art, specifically in institutional settings. And do note, I say “thinking” as a way of identifying the most public aspect of art, in so far as its activity – coupled with its elusive twin sibling, “feeling” – is art’s primary most medium. Remember this when reading through the interview and be amazed at the potential of your chosen cultural behavior.

Mousse Magazine’s, TO SHOW OR NOT TO SHOW.

-NICOLEMAUSER.COM

I’ve recently finished the website for a friend, Nicole Mauser. It was made with the assistance of another friend, Seth Hoekstra, who made the custom type and kindly offered design suggestions along the way.

Wander through it, here.

-#sharkface

Cause if you don’t know now you know #sharkface.

+It’s a Wonderful Life

2011-12-27T20:07:02Z

Merry Christmas, Internet family! Merry Christmas, Internet friends! Merry Christmas, Internet strangers!

+More “Painting”

2011-11-02T16:53:35Z

Content is Queen from Sergio Albiac on Vimeo.

+UM

2011-09-16T20:03:00Z

video platform video management video solutions video player

www.jimcarreytrulife.com

+Progressive Programming

2011-05-23T06:54:35Z

Programming [a host of activities] itself is a medium that should be discursively reconsidered within the field of shifting organizational responsibility and transnominal embodiment. For the past few weeks I’ve been noting several new programming initiatives, both institutional and non-institutional, that make a strong case for being as progressive as the art and/or artists they typically champion. Below is a small compilation of a few of these programs.

-KOW ISSUE 8: GENERAL STRIKE

One of my favorite galleries [and gallery spaces] in Berlin is the relatively new KOW Berlin. The gallery’s conceptual agenda is rooted in their conviction that the social dimension of artistic practices is what makes them helpful in understanding the conditions, and in influencing the modes, of our individual and collective lives.

More specifically, GENERAL STRIKE is published as the eighth contribution to KOW ISSUES, a sequence of projects in varying formats that explore the social and political implications of artistic practices. Conception, texts, and graphic design: Alexander Koch.

From the excerpt:
“Artists are positively expected to criticize the society in which they live. Criticizing art—the market, the institutions, the role of the creative outsider in which many people like to cast them—is likewise a conventional part of what they do; in Institutional Critique, it has even become the central feature of a distinct art movement. But what happens when artists go so far as to criticize not just individual features of the art world but art as a whole?”

This is the transcendent beauty of criticality as ouroboros. I’d love to see more blogs dedicated to this theme alone.

More ✔

-REGIONALISM IN THE 21ST CENTURY

On Saturday, May 7th, 2011, Glasstire and the Modern Art Museum of Fort Worth presented a panel in celebration of their 10th anniversary. The issues being discussed are apropos to many of the issues being [mostly unconsciously] projected by the artist and art collective behavior of mimetic institutionalization.

“Regionalism in the 21st Century” featured Robert Storr, dean of the Yale University School of Art and curator of the 2007 Venice Biennale; David Pagel, Los Angeles Times art critic and associate professor of art at Claremont Graduate University; Toby Kamps, curator of modern and contemporary art at The Menil Collection in Houston; and Michael Galbreth, one of the artist duo known as The Art Guys. The panel was moderated by Christina Rees, a Glasstire correspondent and director of Fort Worth Contemporary Arts.

-INSTANT CINEMA

Instant Cinema is a comprehensive platform for experimental film, video and computer art, making the best audio-visual work of artists of all generations available to a worldwide audience.

The fact that they’re presenting several Bas Jan Ader works alone should be enough reason to inquire further. The interface itself is rather beautiful and lends itself well to the question of whether or not the portability of video art will lead the way in the technological hyper-weaving of art and everyday life. Also, please read the about page.

preview.instantcinema.org ✔

-FREE PROPOSALS FOR ART SCHOOL CRITIQUE

artschoolartcritiques.tumblr.com ✔

-KURATOR

KURATOR is a combined curatorial agency and research platform at the intersection of art, technology and society. It has a particular interest in the emerging discourse and practice that links curating with programming, software and networks.

KURATOR’s core activities include projects, research and publications.  A repository of all contents in the database can be found in the Archive section.

kurator.org ✔

-A Conversation on Useful Art #1

“It’s time to put Duchamp’s urinal back into the restroom” —Tania Bruguera

On Saturday, April 23 Immigrant Movement International hosted A Conversation on Useful Art #1, an event organized by artist Tania Bruguera as part of Immigrant Movement International, a year-long, socio-political movement initiated by the artist in Corona, Queens and presented by Creative Time and the Queens Museum of Art.

Tania Bruguera’s Immigrant Movement International, presented in partnership with the Queens Museum of Art, is a long-term art project in the form of an artist-initiated socio-political movement. Bruguera will spend an entire year operating a flexible community space in the multinational and transnational neighborhood of Corona, Queens, which will serve as the movement’s headquarters. Engaging both local and international communities, as well as working with social service organizations, elected officials, and artists focused on immigration reform, Bruguera will examine growing concerns about the political representation and conditions facing immigrants.

immigrant-movement.us ✔