Paul Kos, The Sound of Ice Melting, 1970

via nevern

Paul Kos, The Sound of Ice Melting, 1970

via nevern

Image (detail): Alicia McCarthy, “Untitled,” 1996; oil and latex on panel; 84 x 84 inches. Collection of Jeff Morris. Courtesy of the San Francisco Art Institute Walter and McBean Galleries. Photo: Johnna Arnold / SFAI.

Alicia McCarthy and Ruby Neri are the standouts. A 1996 untitled (and rare) oil painting by McCarthy draws one in with its siren call of polychromatic, wavering lines woven into a hypnotic grid.
From Patricia Maloney’s review of ENERGY THAT IS ALL AROUND at SFAI’s Walter & McBean Galleries —> http://bit.ly/17RnpZs

via artpractical

Image (detail): Alicia McCarthy, “Untitled,” 1996; oil and latex on panel; 84 x 84 inches. Collection of Jeff Morris. Courtesy of the San Francisco Art Institute Walter and McBean Galleries. Photo: Johnna Arnold / SFAI.

Alicia McCarthy and Ruby Neri are the standouts. A 1996 untitled (and rare) oil painting by McCarthy draws one in with its siren call of polychromatic, wavering lines woven into a hypnotic grid.

From Patricia Maloney’s review of ENERGY THAT IS ALL AROUND at SFAI’s Walter & McBean Galleries —> http://bit.ly/17RnpZs

via artpractical

Meiro Koizumi’s studio view, september 2014, Paris, photo : Aurélien Mole
Meiro Koizumi, Solo exhibition Tuesday, 21 October, 2014 to Sunday, 11 January, 2015
Kadist Art Foundation is pleased to announce Theory on the Desk, first solo exhibition in France of Japanese artist Meiro Koizumi, in residency at Kadist from August to October 2014.
 Extracts from a letter to a legionnaire
Paris, August 6th, 2014
 Dear Sir,
 (…) Currently in residency at Kadist Art Foundation in Paris, I came up with the idea of meeting and interviewing a Japanese soldier engaged in the French Foreign Legion.
 As you may be aware, we have been having big political discussions around the right to collective self-defense; whether we should allow this right to exist again or not. The Cold War was ended 25 years ago, and Japan is finally facing the new reality of post-Cold War international politics. This problem has always been lying at the bottom of our daily lives, unconsciously. However, people in Japan haven’t had enough sense of urgency to imagine and situate Japan within the violence and poverty of the world. Now it is time for us to pay the price of our ignorance over the last quarter of century. That’s how I interpret this situation.
 But unlike most ordinary Japanese people, you volunteered to engage yourself into the violence and poverty of the world. I am very curious to know what pushed you to make this leap. Over the last years, I have been interested in Kamikaze attacks, and I have interviewed a few survivors. I listened to why they volunteered 70 years ago, and their motives and reasons were so pure, and therefore so tragic. I often wonder what I would have done 70 years ago if I were around 20 years old. I don’t have clear answer yet.
 It may be slightly simplistic to compare the Kamikaze with the Foreign Legion, but I imagine there is some similarity in the strength and bravery of one’s mind to push your body towards danger. It would mean a lot to me to meet you and to ask you why you joined the Foreign Legion, what kind of daily life you have, and how you see Japan from your perspective. I don’t want to make it too formal, but I hope you will agree to offer me some of your time.
Sincerely yours, 
Meiro Koizumi
Giving equal importance to the collective history and to its impact on families, couples and individuals, Meiro Koizumi’s works focus on key moments of Japanese modern history, revealing its underlying violence and its impact on current society. Rendering visible what is not shown, what is not said, reversing tradition, questioning the humiliation and the guilt arising from Japan’s defeat in the Second World War, scrutinizing commonly shared repressed desires and degraded humanity, as well as exploring the recent resurgence of nationalist myths, are but a few tasks that Meiro Koizumi dedicates himself to in his video works, but also in his performances, drawings and collages. In a deliberately melodramatic atmosphere, and by means of specific work on the text, the acting as well as on the editing, his videos try to give back voices to an unresolved past, between personal mythologies and historical narratives. This imaginary is also deeply inscribed into the bodies of his protagonists, whom the artist often embodied himself to begin with, before gradually having them played by others. During the editing process, the artist does not hesitate to cut and mix sequences in order to highlight different points of view on a same story and to embody the multiple contradictions which inform both Japanese history and contemporary identity, between duty of memory and right to forget.
Continuing with these notions, the exhibition Theory on the Desk presents a group of new works, produced during the artist’s residency at the Foundation. Dealing with the experience and the representations of war and survival, the artist is currently working on a video recording the story of a survivor of World War II, Mr Harada, who lived through an American bombing of the city of Maebashi when he was eight years old. The film questions the ways to narrate such an experience, between personal trauma and the necessity to deliver a testimony.
Still in relation to war, yet seen from the side of an individual’s commitment, the letter opening this press release refers to another part of the project, the artist’s attempt to meet a Japanese citizen enrolled in the French Foreign Legion, in order to enquire about the reasons of his decision and his daily experience. In dialogue with these works, Meiro Koizumi also dedicated his residency to a new sculptural piece, made of fragments of a child’s body, exposed on a table like archeological findings, as another way to evoke this relation to the exposition to danger, the loss and the destruction.
The title of the exhibition Theory on the Desk is inspired by the Japanese translation of “armchair theory”, an English expression suggesting a theoretical approach to issues rather than a practical one.
Opening Reception: Tuesday, October 21
This video piece has been made in collaboration with Arts Maebashi.
For more information: http://kadist.org/en/programs/all/1908

Meiro Koizumi’s studio view, september 2014, Paris, photo : Aurélien Mole

Meiro Koizumi, Solo exhibition Tuesday, 21 October, 2014 to Sunday, 11 January, 2015

Kadist Art Foundation is pleased to announce Theory on the Desk, first solo exhibition in France of Japanese artist Meiro Koizumi, in residency at Kadist from August to October 2014.

 Extracts from a letter to a legionnaire

Paris, August 6th, 2014

 Dear Sir,

 (…) Currently in residency at Kadist Art Foundation in Paris, I came up with the idea of meeting and interviewing a Japanese soldier engaged in the French Foreign Legion.

 As you may be aware, we have been having big political discussions around the right to collective self-defense; whether we should allow this right to exist again or not. The Cold War was ended 25 years ago, and Japan is finally facing the new reality of post-Cold War international politics. This problem has always been lying at the bottom of our daily lives, unconsciously. However, people in Japan haven’t had enough sense of urgency to imagine and situate Japan within the violence and poverty of the world. Now it is time for us to pay the price of our ignorance over the last quarter of century. That’s how I interpret this situation.

 But unlike most ordinary Japanese people, you volunteered to engage yourself into the violence and poverty of the world. I am very curious to know what pushed you to make this leap. Over the last years, I have been interested in Kamikaze attacks, and I have interviewed a few survivors. I listened to why they volunteered 70 years ago, and their motives and reasons were so pure, and therefore so tragic. I often wonder what I would have done 70 years ago if I were around 20 years old. I don’t have clear answer yet.

 It may be slightly simplistic to compare the Kamikaze with the Foreign Legion, but I imagine there is some similarity in the strength and bravery of one’s mind to push your body towards danger. It would mean a lot to me to meet you and to ask you why you joined the Foreign Legion, what kind of daily life you have, and how you see Japan from your perspective. I don’t want to make it too formal, but I hope you will agree to offer me some of your time.

Sincerely yours,

Meiro Koizumi

Giving equal importance to the collective history and to its impact on families, couples and individuals, Meiro Koizumi’s works focus on key moments of Japanese modern history, revealing its underlying violence and its impact on current society. Rendering visible what is not shown, what is not said, reversing tradition, questioning the humiliation and the guilt arising from Japan’s defeat in the Second World War, scrutinizing commonly shared repressed desires and degraded humanity, as well as exploring the recent resurgence of nationalist myths, are but a few tasks that Meiro Koizumi dedicates himself to in his video works, but also in his performances, drawings and collages. In a deliberately melodramatic atmosphere, and by means of specific work on the text, the acting as well as on the editing, his videos try to give back voices to an unresolved past, between personal mythologies and historical narratives. This imaginary is also deeply inscribed into the bodies of his protagonists, whom the artist often embodied himself to begin with, before gradually having them played by others. During the editing process, the artist does not hesitate to cut and mix sequences in order to highlight different points of view on a same story and to embody the multiple contradictions which inform both Japanese history and contemporary identity, between duty of memory and right to forget.

Continuing with these notions, the exhibition Theory on the Desk presents a group of new works, produced during the artist’s residency at the Foundation. Dealing with the experience and the representations of war and survival, the artist is currently working on a video recording the story of a survivor of World War II, Mr Harada, who lived through an American bombing of the city of Maebashi when he was eight years old. The film questions the ways to narrate such an experience, between personal trauma and the necessity to deliver a testimony.

Still in relation to war, yet seen from the side of an individual’s commitment, the letter opening this press release refers to another part of the project, the artist’s attempt to meet a Japanese citizen enrolled in the French Foreign Legion, in order to enquire about the reasons of his decision and his daily experience. In dialogue with these works, Meiro Koizumi also dedicated his residency to a new sculptural piece, made of fragments of a child’s body, exposed on a table like archeological findings, as another way to evoke this relation to the exposition to danger, the loss and the destruction.

The title of the exhibition Theory on the Desk is inspired by the Japanese translation of “armchair theory”, an English expression suggesting a theoretical approach to issues rather than a practical one.

Opening Reception: Tuesday, October 21

This video piece has been made in collaboration with Arts Maebashi.

For more information: http://kadist.org/en/programs/all/1908

Remembering Whitney Lynn’s intervention at SFMOMA in 2012 , as part of the “Festival de Performance de Cali de San Francisco”

Remembering Whitney Lynn’s intervention at SFMOMA in 2012 , as part of the “Festival de Performance de Cali de San Francisco

Stills from Anthony McCall’s Landscape for White Squares, 1972.

via kirstenharkonen

Guy de Cointet - It Was Incredible!, 1978
via toutpetitlaplanete

Guy de Cointet - It Was Incredible!, 1978

via toutpetitlaplanete

Lost and Found, an amazing article on Guy de Cointet in Mousse Magazine.

Guy de Cointet made a few artworks about explaining art. Artworks where “explaining” was the subject. He drew attention to the very act. To the social element, how one person or text informs another, how appreciation is passed on, and of course, to how impossible such a task all is. How vulnerable our understanding. He knew what you have and what you get will never be consistent.


Image: Guy de Cointet, “Tell Me,” performance view, Rosamund Felsen Gallery, Los Angeles, 1979
Courtesy: Estate of Guy de Cointet and Air de Paris, Paris.

Lost and Found, an amazing article on Guy de Cointet in Mousse Magazine.

Guy de Cointet made a few artworks about explaining art. Artworks where “explaining” was the subject. He drew attention to the very act. To the social element, how one person or text informs another, how appreciation is passed on, and of course, to how impossible such a task all is. How vulnerable our understanding. He knew what you have and what you get will never be consistent.

Image: Guy de Cointet, “Tell Me,” performance view, Rosamund Felsen Gallery, Los Angeles, 1979

Courtesy: Estate of Guy de Cointet and Air de Paris, Paris.

Guy de Cointet, Tell Me, 1979 (Performed in 2006, France)

Courtesy Guy de Cointet Estate and Air de Paris, Paris

Five Sisters (1982) by Guy de Cointet | Re-staged by If I Can’t Dance, I Don’t Want To Be Part of Your Revolution

"The restaging of Five Sisters is the result of a research conducted by art historian Marie de Brugerolle, as part of If I Can’t Dance’s programme Performance in Residence. With this programme, “If I Can’t Dance” aims to research performances as case studies and proposes to connect archival research to practice. The current rendition of the play addresses questions around the idea of ‘making Five Sisters anew’, and departs from earlier restagings of de Cointet’s plays that focused on reconstruction.”

Image credits: Nicholas Burrough © If I Can’t Dance, 2011

via linemagazine

itssupernice:

Guy de Cointet, A new Life, 1980

itssupernice:

Guy de Cointet, A new Life, 1980

Video of the opening of Librería Donceles by Pablo Helguera at Kadist SF last Saturday, featuring music by Diana Gameros

tart-pastry:

"Preview" by Allen Ruppersberg.