The European Court of Human Rights has ruled that Moscow must pay more than $100,000 in damages to the collective Pussy Riot over a violent attack during the 2014 Olympics. “The attack has been established ‘beyond reasonable doubt,’ and that the situation in which the applicants found themselves during the attack was not compatible with respect for their human dignity,” the court ruled.
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New York – Barbara Sánchez-Kane: “New Lexicons for Embodiment” at Kurimanzutto Through October 21st, 2023September 26th, 2023
On this month at kurimanzutto in New York, artist Barbara Sánchez-Kane has installed a new body of work that explores a range of expressive modalities between sculpture and clothing design. Sánchez-Kane, who alternatively uses she and he pronouns, is interested in the deconstruction of identities and the duality of the presented self: through her clothes and sculptures, there is a perpetual tearing and fracturing of the structure, voids that seemingly shouldn’t exist, and the recurring repurposing of traditional objects through the destruction of their functionality. Read More »
Artist Wade Guyton has long explored the constructs and constraints of contemporary image and object production, utilizing a range of various technological and gestural approaches to create dense, nuanced works that emphasize both the act of making and images they contain. For his latest show, on view this month at Matthew Marks, the artist takes particular interest in his studio as not just the site of production, but the images his work depicts.
Philippe Parreno takes over Gladstone Gallery this month with a body of work that continues to mine notions of non-human intelligence, technology and life. The show, Hertzian Tales, marks the most recent manifestation of his ongoing contemplation of art as both sentient and sensual.
This fall, artist Sam Durant opens a show of new works at Praz-Delavallade in Paris, continuing a body of work that mines the artist’s long explored modes of practice, while turning his examinations of modern culture, history and context on its ear. Long recognized for work that questions, highlights, and reframs social and civic issues from the more complex sides of history: colonialism, the death penalty, surveillance and slavery among them, the artist here turns towards the playful and exploratory, marking new notes in an already expansive and expressive practice.
Anri Sala (Installation View), via Galerie Chantal Crousel
Artist Anri Sala opens a show of new work at Galerie Chantal Crousel this month, exhibiting a body of new frescoes that underscore continued reseaarch into the construction and composition of narrative, particularly oriented around refashioning and repurposing spaces and epochs. Read More »
New York – William Kentridge: “Oh To Believe in Another World” at Marian Goodman Through October 21st, 2023September 13th, 2023
This fall, Marian Goodman opens its gall calendar in New York with a solo exhibition by William Kentridge featuring Oh To Believe in Another World, an immersive five-channel projection made in response to Dmitri Shostakovich’s Symphony No.10. The exhibition marks the North American premiere of the film, which will be shown alongside a multi-disciplinary body of work which includes new bronze sculptures, drawings, collaged lithographs, and mixed-media puppets. Marking the artist’s 19th solo show with the gallery, it also marks 25 years of collaboration between the dealer and artist.
Marking his first solo show with Hauser & Wirth in New York, the Swiss artist Nicolas Party has orchestrated an expansive and captivating show of new works that continue to underscore the artist’s mining of traditional painterly languages in concert with freely interpretive and expressive modes of depiction. Spread across the gallery floors of blue-chip dealers’ flagship space in Chelsea, Party’s work is a striking opening note in the fall calendar. Read More »
AO On-Site – SPRING/BREAK Art Show at Atlantic Production Center, 625 Madison Avenue September 6th – 11th, 2023September 11th, 2023
The first notes of fall are in the air in New York, and, like clockwork, another art season is now underway, kicked off once again by the opening of the Armory Show and its satellite fairs in New York City. That means that, once again, the night before the fair is the domain of Spring/Break Art Show, the curator-first, project oriented fair that brings together a range of expressive and imaginative works under a broad curatorial banner. Leaving ample space for exploration and investigation, the fair is a perennial highlight, and, now in its 11th year, has reached cruising velocity, bringing with it a year that takes a moment for retrospective conceptions of the event.
Over the last several years, the Independent Art Fair has built a name for itself as a dynamic and focused exhibition project, culling together small selections of exhibitors that emphasize curation and focus over the sprawling aisles of mega fairs and blue-chip magnets. This year, the fair has returns its 20th Century offering for the run of The Armory Show further uptown. The show, focusing in on historically-resonant works, makes for a striking new offering during Armory Week, and a fitting continuation of the fair’s well-established focus.
Despite a heat wave that made early September feel like mid-July in New York, this week, the fall art season and the promise of cooler weather has descended on The Big Apple, and New Yorkers are flocking back from their summer travels to kick off one of the busiest art seasons of the year at the Armory Show. This year, the Javits Center is home to over 225 booths, featuring selections from gallery veterans, non-profits, museums, and emerging gallerists from over 35 countries. The fair was notably divided into several sections such as Galleries, Solo, dedicated to single artists, Not-for-Profit, Focus, a section curated by Candice Hopkins, featuring solo- and dual-artist presentations that under-represented artists who draw on cultural connections, and Presents, featuring galleries that are less than 10 years old.