The Guggenheim officially opened its call for design entries for its Helsinki Museum outpost yesterday, judged by a staff of architects, museum employees and  and politicians, including jury chair Mark Wigley, the Professor and Dean of the Graduate School of Architecture, Planning and Preservation at Columbia University; Ritva Viljanen, the Deputy Mayor, City of Helsinki; and Nancy Spector, Deputy Director and Chief Curator of the Guggenheim Foundation.  “This competition promises to be extremely exciting,” says jury member Erkki Leppävuori, President and CEO of VTT Technical Research Centre of Finland. “The site, which is rich and varied as a cultural and environmental setting, poses potentially productive technical challenges to architects and structural engineers, who also must address the high expectations and lively opinions of our citizens.” (more…)

Francesco Vezzoli, All About Anni – Anni vs. Marlene (The Saga Begins) (2006), via MoCA

Much like predecessors Rainer Fassbinder, George Kuchar and Tom Wesselmann, Franceso Vezzoli grew up around the golden ages cinema and television, and his work often toys at fusing their higher art forms with a violent appreciation for popular culture in very different ways.  It’s these interests that dominate his show Cinema Vezzoli,currently on view at MOCA in Los Angeles, part of the three museum retrospective of Vezzoli’s work, titled The Trilogy. (more…)

As art theft market experts gather at a three day symposium at New York University from June 4-6 to discuss the 3rd largest crime enterprise in the world, Bloomberg Television notes the current $6 billion value of the art theft market, in relation to the $200 billion global art market. Cases of art thefts costing hundreds of millions of dollars date back to 1990, with daring attempts dotting the history books. “I’ve heard stories of a helicopter coming and zooming down and taking statues out of a garden,” Steel reports.

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Pierre Soulages, Peinture 175 X 222 Cm, 23 Mai 2013, via Art Observed

Held in high regard in his home country of France, and throughout much of continental Europe, the work of Pierre Soulages has never really achieved the same stature in the United States, despite his formal ties to the particularly American strains abstract expressionism and minimalism that have populated his work over the past sixty years.  But it’s that same lack of recognition that Dominique Lévy and Emmanuel Perrotin are looking to change this spring, bringing a selection of the artist’s most recent work, and some of his most classic canvases to show at the pair’s uptown exhibition spaces.

Pierre Soulages, Peinture 202 X 159 Cm, 18 Octobre 1967, via Art Observed (more…)

Mark Grotjahn, Untitled (Yellow Butterfly Orange Mark Grotjahn 2004) (2004), all images courtesy Blum and Poe

Celebrating the inaugural show at its first New York location, Blum & Poe’ is presenting a show of Mark Grotjahn’s Butterfly Paintings, curated by Douglas Fogle at its E 66th Street location.  The show focuses on select works from Grotjahn’s recognizable series, which range in date from 2001 to 2008, and tracing the evolution of the paintings over a period of 7 years.

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The Guardian reports on Gallery A, a little known and just recently refurbished exhibition space located inside London’s National Gallery, where a number of masterworks not normally shown in the main rooms are kept for public viewing.  The new exhibition spaces in Gallery A have been drastically reworked, allowing visitors a more relaxed, expansive viewing atmosphere. (more…)

David Shrigley is interviewed in The Guardian this week, discussing his early years as an artist, his approach to his recent Sketch Restaurant commission, and his response to not winning the Turner Prize last year.  “It’s like, the day after they announced the winner of the Turner prize,” he says. “I’d had a bad back and the day afterwards my back got better like that.” (more…)

The colorful, shifting glasswork of Andrew Erdos

The annual festivities surrounding Bushwick Open Studios seem to get bigger each year, and 2014 was no exception, as the yearly summer art open wrapped its eighth year of open artist studios, new gallery shows, and a freshly inaugurated art fair in the heart of one of Brooklyn’s hotbeds for creative talent.

Seren Morey at 56 Bogart (more…)

Last July, the Tate Modern opened its doors for a special exhibition that went beyond the set norms and techniques of exhibition planning. Meschac Gaba’s Museum of Contemporary African Art was a special project expanding twenty years of work across two continents, accumulated and exhibited in the rooms of the London museum. Composed of twelve different spaces, the large-scale exhibition was an outcome of Gaba’s investigation of the arts in African countries while questioning the often problematic affair between African art and the decision makers of the art dynamic and markets of the West.

Continuing some of these thematics, Gaba is currently presenting his latest body of work at Tanya Bonakdar Gallery. As the title Exchange Market suggests, the content of the exhibition is distinguishably opinionated  regarding the global economic structures and the imbalance of labor against income for the vast majority of societies around the world. Hailing from Benin, Gaba has lived and worked in The Netherlands, and seizes on the issues surrounding the unfair distribution of wealth and the exploitation of the less privileged from a Non-Western point of view. This duality also ties to other oppositions such as First World versus Third World or Developed versus Underdeveloped, suggesting a breakdown of the separation between the powerful and the weak.

Downstairs at Bonakdar, Ten marketplace stands showcasing a wide range of symbolic objects  (hand tools, cotton balls, cacao beans, outdated or currently popular mobile phones) and banknotes from different countries attached onto umbrellas. Titled Bureau d’Exchange (Exchange Office), the ten-table installation presents devalued or still in use African currencies printed with multiple zeros, as well as certain Western banknotes with many fewer zeros. Reduced to sheets of paper hanging from the salvaged umbrellas, these banknotes make visually potent statements on the problematic connection between labor and income while discussing the disadvantaged political and economical structures around the globe, given no shade under these bare umbrellas.

Also on display on the first floor is a group of coin banks hung on the gallery walls. With their shapes inspired by famous bank logos or culturally potent figures, these banks do not serve for the common purpose of collecting money for charity or personal use; however they stand out as the silent emblems of a collectively desired utopian reality, ideally stemming from individual contributions.

The argument on collectiveness and global unity continues on the second floor where viewers are presented with four foosball tables, each made in Benin. Visually recalling the original Western pastime, the tables differ with their uncommon arrangements regarding the execution of the game. The soccer tables Gaba presents include players dressed in uniforms of different nations and players of markedly different races as opposed to generic and neutral players.

As components of a unitary operation, all connected to each other, players on these soccer tables stand out as the embodiments of current economical and social structures planned according to different goals and strategies. In one, for instance, a smiling, American flag-clad team is pitted against one bearing a uniform of pan-African identity.  The oppositions are striking.  From a more optimistic point of view, these players emphasize the artist’s statement on a utopian collective agenda that is solely accessible through a global awakening and realization.

Meschac Gaba: Exchange Market is on view at Tanya Bonakdar Gallery through June 7th, 2014.

— O.C. Yerebakan

Related Links:
Tanya Bonakdar Gallery [Exhibition Page]
Tate Modern [Exhibition Page]