Olafur Eliasson, Multiple shadow house, 2010. Installation view. Images via Tanya Bonakdar Gallery.

Olafur Eliasson is currently on show for the sixth time at Tanya Bonakdar Gallery, through March 20, in a spectacular exhibition that extends the artist’s study of modes of perception, specifically concerning one’s experience of space and time. In this instance Eliasson’s particular fascination is the phenomena of light, movement and color and the relationship between them.

Multiple shadow house, 2010. Installation view

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Os Gemeos, Rinha, 2010

On show at the Galleria Patricia Armocida, Milan, is the much anticipated “Nos Braços de um Anjo” (In the Arms of an Angel), the second exhibition of works by Brazlian twins Os Gemeos (Otavio and Gustavo Pandolfo). This exhibition presents a series of entirely new, and previously unseen, works that include large canvases, musical sculpture-objects, mechanical and interactive site-specific installations actually created inside the gallery walls.

O Devoto, 2010
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Sarah Morris, “Beijing Intersecting” (2009), one of the proposals for filling the Guggenheim’s void as part of its 50th anniversary show. Photo by Art Observed.

AO was at the press preview for “Contemplating the Void: Interventions in the Guggenheim” as the museum celebrates the 50th anniversary of its Frank Lloyd Wright-designed home on the East Side. For this new exhibition, organizer Nancy Spector commissioned two hundred proposals from artists, designers, and architects to fill the void.  Through April 28, proposals are on the walls of the Guggenheim, a set of dreams and interventions.

Detail from “Remember Beuys” (2009), by Bolles+Wilson, at the Guggenheim. Photo by Art Observed.

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School, 2008 Subodh Gupta [ All images via Hauser & Wirth unless otherwise noted]

Currently showing at Hauser & Wirth London, 15 Old Bond Street is “School,” a selection of most recent works by Subodh Gupta.  The show features forty five brass stools paired with stainless steel thali trays (traditional Indian trays with multiple compartments used for meals containing several dishes).

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Sterling Ruby, “Pig Pen” (2009-2010), on view at PaceWildenstein.

Through March 10, Sterling Ruby has two new pieces at PaceWildenstein’s downtown gallery.  On view are “Pig Pen” and “Bus,” two industrialized traps that confine, says a gallerist, humanity’s basic primitivism. This is an artist’s apocalyptic endgame.

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Sterling Ruby, “Bus” (2010) at PaceWildenstein.

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A photo taken with a mobile phone, although picture-taking was prohibited during the exhibition via NY Times

When Tino Sehgal‘s work took over the Guggenheim Museum in New York on January 29th it was a quiet experience. There were no opening parties, no fuss and none of that Art World glitter to make one jump from exuberant excitement.  The walls of Frank Lloyd Wright’s majestic rotunda were stripped bare and seem to have newly acquired a long lost naïveté.  The lobby still brimmed with crowds of people clustered around the impenetrable center. The Kiss unfolded, rolled and scattered itself in a graceful poise of a feline. The subtly choreographed sequence of animated poses referenced erotic works from Rodin, to Courbet, to Jeff Koons. Occasionally, a couple or a small group of visitors would creep closer for a brief encounter or settle in contemplative thought on the floor of the proposed stage.

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Every March for the past 12 years, artists, galleries, collectors, critics and curators from all over the world have made New York their destination during Armory week. Launching the week of cultural activities, Mayor Bloomberg predicted that 60,000 visitors are expected bring in around $44 million. The week’s main event, The Armory Show, opened its doors to a record number of VIP ticket holders yesterday morning reflecting a renewed optimism in the art market. This year, the show has expanded to include 285 dealers, up from 239 in 2009. Pier 94, at 12th Avenue and 55th Street, showcases 211 cutting-edge contemporary galleries, institutions and non-profit art organizations, a further 78 dealers specializing in Modern and Secondary market works at the adjacent Pier 92.

Jay Jopling shows a client around the White Cube booth, all photographs by Oskar Proctor for Art Observed

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Marina Abramovic and Klaus Biesenbach at Moma

Marina Abramovic gave a lecture Monday evening at the MOMA as a precursor to her major retrospective which will open there on March 14th. Abramovic has had a prolific career as a performance artist, much of her work pushes the boundaries of the physical body in endurance based pieces that posit her body as the art object.  The lecture was introduced by Klaus Biesenbach, director of MoMA’s PS1, as a way for Abramovic to speak before entering into a lengthy period of silence, a requirement for the main performance piece to the show, her longest solo piece ever performed.  She will spend over 600 hours in the museum over a period of three months without speaking or moving.

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“Eierstapel” (2009), part of the new Wolfgang Tillmans show at Andrea Rosen. ©Wolfgang Tillmans

Through March 13, Andrea Rosen is hosting 85 new works by the photographer Wolfgang Tillmans, in an exhibition that diverges from much of his typical series. A picture of a baby opens the show, which includes pictures of the Gaza security fence, a triathlon, egg cartons, cities, nature… “Previous shows,” Tillmans tells Dominic Eichler, “…often included absurd moments and odd subject matter that had nothing to do with the core narrative of the ‘real’ utopias portrayed in my pictures. But this show reverses the balance – a few pictures from ‘my world’ are met with a majority of ‘outside’ world.”

Installation view of the Wolfgang Tillmans exhibition at Andrea Rosen. ©Wolfgang Tillmans. Photo by Jeremy Lawson

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SEKU: Here at the Center of Pain is Radiance (2010), by Matthew Barney, via Sadie Coles

Currently on view at Sadie Coles in London are new drawings by Matthew Barney in correlation with his project “Ancient Evenings,” a performance work in partnership with composer Jonathan Bepler. Intimate and delicate, Barney’s drawings allude to each of the seven acts emphasizing in particular the themes of mythology, death, rebirth, and reincarnation. The works are based on Norman Mailer’s erotic and allegorical novel Ancient Evenings (1983) which re-envisages ancient Egyptian mythology and the seven passages of the soul after death: Ren, Khu, Sekhem, Ba, Ka, Khaibit, and Sekhu.

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Djed: The Case for Saving Detroit (2010), by Matthew Barney, via Sadie Coles

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Ida Applebroog’ s ‘MONALISA” 2009 Installation View All images via Hauser and Wirth unless otherwise noted

Currently showing at Hauser and Wirth Gallery, 32 East 69 St., New York, NY is “MONALISA”, an exhibition of works by an American artist  Ida Applebroog. The present exhibition is a debut of the entirely new body of work, with a centerpiece of a rudimentary wooden structure that the artist’s calls “MONALISA’s House”. The structure’s walls are covered by one hundred drawings of the artist’s genitals that she produced in the seclusion of her bathroom, while living in California in 1969. The artist speaks about her work: “It was a certain period of my life and before I got into the tub I’d sit with a full-length mirror on the floor. It was before my own radicalization.”

Ida Applebroog’ s ‘MONALISA” 2009 Installation View

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