Takashi Murakami is the subject of the most recent “Lunch with the FT” Interview this week, joining a writer from the newspaper for lunch at the Kaikai Kiki Co. studios outside Tokyo, and discussing his role in a generation of artists investigating capitalism and its intertwined relationship with fine art, including his relationship to otaku subcultures.  “People say, ‘Oh, Takashi steals from our culture.’ But wait a minute. Our culture means my culture, too, right?” (more…)

At the entrance to the Biennale’s Central Pavilion, via Sophie Kitching for Art Observed

The Central Pavilion in Venice’s Giardini is the second site for All the World’s Futures, the main curatorial project around which the Biennale centers itself.  Featuring another series of artists spread out inside the exhibition space’s remarkable white facade, the exhibition continues its investigation of debris and late capitalism through a more playful, yet equally critical set of works from its counterpart at the Arsenale. (more…)

Daniel Keller, Stack 1 (2014), via Max Hetzler

Presenting a selection of artists working at the bleeding edge of social and economic critique, Max Hetzler’s exhibition Open Source: Art at the Eclipse of Capitalism easily clocks in as one of the season’s most unexpectedly energetic exhibitions.  Curated by Lisa Schiff, Leslie Fritz and Eugenio Re Rebaudengo, and spread between the gallery’s Paris and Berlin locations, the show places post-capitalist theory and economic transition as its central conceit, examining the material and social costs of contemporary life within systems of capital exchange.  Pulling from the works of writer Jeremy Rifkin, the exhibition explores a historical juncture at which the traditional modes of national economic and political systems are slowly giving way, and a new, digitally-accelerated model of consumption and distribution is swiftly establishing itself.

Open Source: Art at the Eclipse of Capitalism (Installation View – Paris), via Max Hetzler (more…)

Gardar Eide Einarsson and Oscar Tuazon, Liberator I (2014), via Team Gallery

Chez Perv, a group exhibition of work by Oscar Tuazon, Matias Faldbakken and Gardar Eide Einarsson is currently on view through June 1 at the Team Gallery in New York. Concrete slabs and immoveable duffle bags mark this show’s exploration of the hard edges and enormous weight of the physical world, deriving its title from a New York Post cover story on the Dominique Strauss-Kahn sex scandal. Politically potent, heavily minimalist, and privileging the alienating, this group show brings the stillness of the physical world to the fore.

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A recent article by The Independent uncovers the extensive network of government funding, support and propaganda around American contemporary art during the 1950’s and 60’s as an economic and political weapon against the Communist bloc.  Part of the original scope of the CIA when it was founded in 1947, a program called the Congress for Cultural Freedom was used to promote and disseminate the works of American artists as a symbol of outright cultural freedom of expression.  Says former agent Donald Jameson: “It was recognised that Abstract Expression- ism was the kind of art that made Socialist Realism look even more stylised and more rigid and confined than it was. And that relationship was exploited in some of the exhibitions.” (more…)

Empire State (Installation View), via Palazzo Delle Esposizioni

“Empire State,” a classic nickname denoting New York’s central position in the art world, takes a new spin in Rome this summer, thanks to the curatorial talents of Alex Gartenfeld and Norman Rosenthal. (more…)