Up now on Contemporary Art Daily: exhibition photos from Dexter Sinister’s recent exhibition at Contemporary Art Centre in Vilnius. 
Click through to see images and video excerpts from the show. 

Up now on Contemporary Art Daily: exhibition photos from Dexter Sinister’s recent exhibition at Contemporary Art Centre in Vilnius. 

Click through to see images and video excerpts from the show. 

Dinh. Q. Lê, Light and Belief: Sketches of Life from the Vietnam War, 2012. 100 drawings; pencil, watercolor, ink, and oil on paper. Variable materials: Video; color, sound; Length: 35 min.
The 2014 edition of The Real DMZ Project has just been announced. 

The REAL DMZ PROJECT is a contemporary art project based on research conducted on the DMZ (Demilitarized Zone) in South Korea and its border area. Having begun with a critical perspective on the ironies that surround the Demilitarized Zone, the REAL DMZ PROJECT has extended its parameters by experimenting not only with new productions and exhibitions but also via dialogue and discussions within the humanities and social sciences fields. The long-term vision of the REAL DMZ PROJECT is to create a platform that not only supports a variety of research methods and studies, but also ensures that this research can be made accessible to both local and global communities.

This year’s edition will feature participation by Seung Woo Back, Jae Eun Choi, Seoyoung Chung, Florian Hecker, Joohyun Kim, Koo Jeong A, Dinh Q. Lê, Mark Lewis, Ingo Niermann, Albert Samreth, Tomás Saraceno, and Adrián Villar Rojas.
The opening will be on August 30 and will be on view through September 27. 

Dinh. Q. Lê, Light and Belief: Sketches of Life from the Vietnam War, 2012. 100 drawings; pencil, watercolor, ink, and oil on paper. Variable materials: Video; color, sound; Length: 35 min.

The 2014 edition of The Real DMZ Project has just been announced. 

The REAL DMZ PROJECT is a contemporary art project based on research conducted on the DMZ (Demilitarized Zone) in South Korea and its border area. Having begun with a critical perspective on the ironies that surround the Demilitarized Zone, the REAL DMZ PROJECT has extended its parameters by experimenting not only with new productions and exhibitions but also via dialogue and discussions within the humanities and social sciences fields. The long-term vision of the REAL DMZ PROJECT is to create a platform that not only supports a variety of research methods and studies, but also ensures that this research can be made accessible to both local and global communities.

This year’s edition will feature participation by Seung Woo Back, Jae Eun Choi, Seoyoung Chung, Florian Hecker, Joohyun Kim, Koo Jeong A, Dinh Q. Lê, Mark LewisIngo NiermannAlbert SamrethTomás Saraceno, and Adrián Villar Rojas.

The opening will be on August 30 and will be on view through September 27. 

Nalini Malani, Splitting the Other, Panel 12, 2007, Acrylic, ink and enamel reverse painting on acrylic sheet, 200 x 100 cm
via fyeahwomenartists

Nalini MalaniSplitting the OtherPanel 12, 2007, Acrylic, ink and enamel reverse painting on acrylic sheet, 200 x 100 cm

via fyeahwomenartists

The Guggenheim has an excellent playlist on Soundcloud with interviews with artists for Under the Same Sun: Art from Latin America Today. Above, you can hear an interview with Carlos Amorales. Other interviewees include Amalia Pica, Luis Camnitzer, Wilfredo Prieto, and more.

To listen to the whole playlist, click here.

In this excerpt from his commentary for the Under the Same Sun multimedia guide, artist Carlos Amorales talks about his participatory installation in the exhibition, which elicits musical responses ranging from the subtle to the bombastic. He also describes making the work in the former studio of sculptor Alexander Calder.
http://www.guggenheim.org/guggenheim-foundation/collaborations/map/latinamerica/artist/carlos-amorales

picklebeholding:

Mike Kelley “Center and Peripheries #2,” 1990 in in Another Look at Detroit curated by Todd Levin at Marlborough Chelsea and Marianne Boesky Gallery.June 26 - August 8, 2014

picklebeholding:

Mike Kelley “Center and Peripheries #2,” 1990 in in Another Look at Detroit curated by Todd Levin at Marlborough Chelsea and Marianne Boesky Gallery.
June 26 - August 8, 2014

(via sisifo)

Hank Willis Thomas, The Cotton Bowl, series: Strange Fruit, digital c-print, 2011.
Read this short but insightful interview with Hank Willis Thomas in DIS Magazine. The interview centers around Thomas’ work that explores black bodies in advertising, but also the very real issues of exploitation and consumer culture. 

Black bodies were spectacles in slave markets and on lynching trees and whipping posts. They are spectacles in the NCAA, NBA, NFL drafts and combines. Their ancestors may have worked the cotton and tobacco fields that later became football fields. 

Hank Willis Thomas, The Cotton Bowl, series: Strange Fruit, digital c-print, 2011.

Read this short but insightful interview with Hank Willis Thomas in DIS Magazine. The interview centers around Thomas’ work that explores black bodies in advertising, but also the very real issues of exploitation and consumer culture. 

Black bodies were spectacles in slave markets and on lynching trees and whipping posts. They are spectacles in the NCAA, NBA, NFL drafts and combines. Their ancestors may have worked the cotton and tobacco fields that later became football fields. 

Daria Martin - In the Palace - 2000
via lossycompression

Daria Martin - In the Palace - 2000

via lossycompression

Tags: Daria Martin

Spike Island in Bristol has an excellent looking show of Aurélien Froment’s work up now. The exhibition, Fröbel Fröbeled, is the culmination of Froment’s research on German educationalist Friedrich Fröbel (1782–1852), founder of the first Kindergarten.
The exhibition centers around a new body of work that focuses on Fröbel’s Spielgaben, literally ‘play gifts’. To read more, an exhibition guide is available online. The show will be on view through September 14. 

Spike Island in Bristol has an excellent looking show of Aurélien Froment’s work up now. The exhibition, Fröbel Fröbeled, is the culmination of Froment’s research on German educationalist Friedrich Fröbel (1782–1852), founder of the first Kindergarten.

The exhibition centers around a new body of work that focuses on Fröbel’s Spielgaben, literally ‘play gifts’. To read more, an exhibition guide is available online. The show will be on view through September 14. 

Mario Garcia Torres, What Doesn’t Kill You Makes You Stronger, 2008. 35mm slide projection. 
On September 13, the Hammer Museum will present a new film by Mario Garcia Torres. As part of their Hammer Projects series, the exhibition features a piece inspired by the pseudonym of Alan Smithee:

written as an imagined tell-all, casts the fictitious director as a central protagonist in a new single-channel video. 

The show opens on September 13 and will be on view through January 4.

Mario Garcia Torres, What Doesn’t Kill You Makes You Stronger, 2008. 35mm slide projection. 

On September 13, the Hammer Museum will present a new film by Mario Garcia Torres. As part of their Hammer Projects series, the exhibition features a piece inspired by the pseudonym of Alan Smithee:

written as an imagined tell-all, casts the fictitious director as a central protagonist in a new single-channel video. 

The show opens on September 13 and will be on view through January 4.

Matt Lipps, Horizon/s, 2010-.
via anassembly

Matt LippsHorizon/s, 2010-.

via anassembly

Tags: matt lipps

Keren Cytter, Der Spiegel, 2007. Video, color, sound, 4:50 min. 
Mark your calendars for Keren Cytter’s upcoming solo exhibition at Kunsthal Charlottenborg. The show will open on September 19. 

Keren Cytter, Der Spiegel, 2007. Video, color, sound, 4:50 min. 

Mark your calendars for Keren Cytter’s upcoming solo exhibition at Kunsthal Charlottenborg. The show will open on September 19

celluloidfire:

Throwing Four Balls in the Air to Get a Square (Best of 36 Tries) - John Baldessari, 1974

celluloidfire:

Throwing Four Balls in the Air to Get a Square (Best of 36 Tries) - John Baldessari, 1974