Taking over the spacious downtown location of Galerie Perrotin, Belgian artist Wim Delvoye has returned to New York City, capping his sixth one-person show with the gallery and his first singular presentation at Perrotin New York with a body of new works that continue his irreverent and critically-nuanced practice. Continuing his formal deconstructions and spatial riddles with a series of works made during preparations for an exhibition at the Tehran Museum of Contemporary Art, the show sees Delvoye engaging broadly with the history of Iranian art, and the modern landscape of the Middle East. Read More »
In his third solo exhibition in New York, Belgian artist Walter Swennen delivers a broad range of takes on his text and poetry-based work, splashing doses of humor and introspection into each canvas spread across Gladstone Gallery, on which bright, cartoonish colors and existential subjectivities build a delicate, yet compelling balance. From the title bewtie (a riff on the word “beautiful” that also manages to sound Flemish), to Swennen’s utilization of language to problematize the banal, this exhibition chronicles his sense of absurdity embedded in mundane elements, and most particularly in language, as a crucial part of the ritual of the everyday. Read More »
Now through December 22, Sprüth Magers Berlin presents Jon Rafman’s first solo exhibition with the gallery. Dream Journal ’16-’17 is an hour-long, freeform and loosely connected series of narratives examining the impact of technology on society and consciousness. Jon Rafman’s work examines the impact of technology and virtual reality on contemporary consciousness. He is recognized for his use of interdisciplinary and multi-medial forms, including various virtual platforms and online worlds, to critically explore the present moment. For this work, Rafman has designed an immersive viewing experience, complete with shag carpet and anthropomorphized sculptural seating.
London – Gilbert & George: “The General Jungle or Carrying on Sculpting” at Lévy Gorvy Through November 18th, 2017October 24th, 2017
Now through November 18, Lévy Gorvy’s London exhibition space is hosting The General Jungle or Carrying on Sculpting, a collection of seminal works by artist duo Gilbert & George. This show is comprised of 23 monumental, multi-panel pieces, one of the first manifestations of Gilbert & George’s ‘Art for All’ manifesto, and a landmark entry in their early collaborations, which began fifty years ago this month. This is the first exhibition in the United Kingdom to feature this body of work, first presented at the Sonnabend Gallery in New York in the early 1970’s. Read More »
In ancient Greek, the word kairos defined the moment of opportunity to make a decision. Kairos, which lends its name to New York-based painter Pat Steir’s current exhibition at Lévy Gorvy, encapsulates a Proustian interpretation of time that is subjective and cerebral, as opposed to a sequential grasp. Although they represent binary notions at first sight, chance and precision are two pivotal elements in Steir’s work, and given her decision to name her exhibition after a term associated with philosophy of time, she tends to perfect the balance between these two opposites. Created over the last two years, paintings at Steir’s first exhibition with the gallery after the Upper East Side powerhouse announced representation of her last year. Read More »
Lisson Gallery’s second New York location kicked off the fall art season this past week with a striking exhibition of drawings and small-scale works by Stanley Whitney, a charged entry in the season’s landscape of exhibitions that rings a powerful chord against the backdrop of the U.S.’s turbulent and increasingly violent, racially-tinged struggles. Spread across the walls of the gallery’s small project space, the show is an impressive entry in the artist’s oeuvre, combining his energetic, colorful sensibilities with a more cutting socio-political and critical lens, one that brings his work into tight focus against the backdrop of current events. Read More »
As Wednesday evening drags into the late night in Paris, the first day of FIAC has concluded, bringing with it a steady stream of sales and projects that once again places the French art fair at the center of the fall exhibition calendar. The city’s marquee art fair, FIAC opened to strong praise from its attendees, and a number of show-stopping works, arranged under the equally striking architecture of the Grand Palais.
Returning to the French capital for another year of exhibitions inside the iconic expanses of the Grand Palais, the Foire International Art Contemporain, or FIAC, opens its doors today in Paris. The fair, which has operated for over 44 years in the city, has undergone several facelifts over the course of its lifetime, with its most recent editions courting a healthy mix of contemporary and modern works alongside more classical and historical modes, making it one of the world’s more ambitiously curated programs.
New York – Trevor Paglen: “A Study of Invisible Images” at Metro Pictures Through October 21st, 2017October 18th, 2017
Drawing on the increasingly complex relationship between human relations, technological ascendency and the exercise of power that ultimately serves as a negotiating space between these two forces, Trevor Paglen’s work has repeatedly explored how the modern computer processor is ever more embroiled in the fabric of human decision-making and world-building. Having traveled the globe, and even fired a satellite into space to look down on it from outside its atmospheric confines, Paglen’s work delves into the physical architectures, and often otherworldly effects that the modern state of surveillance and speed renders on human understandings of time, space, and even our own perceptions of identity or self.
In the back room of Bodega, a new video by Elizabeth Orr began with one word: “HERE,” a coy move to set the location before her projected video lit up with a full sentence that manages to double back on the grandiosity of its previous line: “There is no spectacle to be revealed.” This statement, taken in conjunction with the artist’s minimalist sculptures arranged around the front room, sets a terse, self-critical tone for Orr’s new exhibition, Our Hallway is Surrounded, a show that makes much of the act of both creating space, and dispensing with that same space’s contextual aura. Read More »