Tony Labat, Leisure, 2002. Weber grill and extended legs, 182.9 x 182.9 x 121.9 cm
via logogloogloogloo

Tony LabatLeisure, 2002. Weber grill and extended legs, 182.9 x 182.9 x 121.9 cm

via logogloogloogloo

Tags: Tony Labat

Mark Soo, Koons On Ice, 2014. Production still. Digital video, sound. Duration variable.
Former Kadist Fellow A. Will Brown interviews Mark Soo for Studio International. Soo speaks about, among other things, a work in progress, Koons On Ice, and his practice. 

Very rarely are my own interests driven by a singular point. By and large, I don’t know why something is initially fascinating to me or anyone else other than that it is simply available through lived experience. But I see recurring patterns in my interests. For example, I’m fascinated by the technological and social aspects of mass media – blinking lights and startup screens – and the way they alter the emotional and perceptual corners of my every day.

To read the whole interview, click here. 

Mark Soo, Koons On Ice, 2014. Production still. Digital video, sound. Duration variable.

Former Kadist Fellow A. Will Brown interviews Mark Soo for Studio International. Soo speaks about, among other things, a work in progress, Koons On Ice, and his practice. 

Very rarely are my own interests driven by a singular point. By and large, I don’t know why something is initially fascinating to me or anyone else other than that it is simply available through lived experience. But I see recurring patterns in my interests. For example, I’m fascinated by the technological and social aspects of mass media – blinking lights and startup screens – and the way they alter the emotional and perceptual corners of my every day.

To read the whole interview, click here

Doug Aitken, SUN POOL, 2014. Aluminum lightbox, LED lights, chromogenic transparency, acrylic. 38 x 88 1/2 x 7 3/8 inches. 
If you’re in Los Angeles tonight, check out the opening of Doug Aitken’s latest solo exhibition, Still Life, at Regen Projects. 

Taking its name from the traditional concept of nature morte, Aitken’s Still Life presents an immersive environment where place and time dissolves, where the individual exists adrift in an electrically charged space. Wending their way through the gallery, viewers are confronted with a series of signs and symbols that at first glance appear familiar but upon closer inspection reveal their foreign nature. A series of internally illuminated light box sculptures hover on the gallery walls. Combining text and image into physical form, they each represent the crystallization of an idea captured from the frenetic modern landscape.

The opening reception is tonight, Saturday, September 6 at 6-8pm and the show will be on view through October 11. 

Doug Aitken, SUN POOL, 2014. Aluminum lightbox, LED lights, chromogenic transparency, acrylic. 38 x 88 1/2 x 7 3/8 inches. 

If you’re in Los Angeles tonight, check out the opening of Doug Aitken’s latest solo exhibition, Still Life, at Regen Projects

Taking its name from the traditional concept of nature morteAitken’s Still Life presents an immersive environment where place and time dissolves, where the individual exists adrift in an electrically charged space. Wending their way through the gallery, viewers are confronted with a series of signs and symbols that at first glance appear familiar but upon closer inspection reveal their foreign nature. A series of internally illuminated light box sculptures hover on the gallery walls. Combining text and image into physical form, they each represent the crystallization of an idea captured from the frenetic modern landscape.

The opening reception is tonight, Saturday, September 6 at 6-8pm and the show will be on view through October 11. 

Charlotte Moth, stills from Study for a 16mm film, 2011. Color digital video transferred from 16mm film, silent. 11 min 28. 

BOMB Magazine has just posted a new interview between Charlotte Moth and curator/writer Jennifer Burris. Moth speaks about her recent film works and her new exhibition at Skulpturemuseum Glaskasten Marl

To read the whole interview, click here

Elizabeth McAlpine, Ends (Sprayed Sound) , 2013. C-type print. 85 x 120 cm.
Tip Toe, a solo exhibition by Elizabeth McAlpine, is now open at Laura Bartlett Gallery in London. The show features a new body of work that furthers McAlpine’s exploration of the photographic medium. 
The exhibition is on view through October 5. 

Elizabeth McAlpine, Ends (Sprayed Sound) , 2013. C-type print. 85 x 120 cm.

Tip Toea solo exhibition by Elizabeth McAlpine, is now open at Laura Bartlett Gallery in London. The show features a new body of work that furthers McAlpine’s exploration of the photographic medium. 

The exhibition is on view through October 5. 

HAEGUE YANG, Boxing Ballet, Installationsansicht, Journal of Echomimetic Motions, Bergen Kunsthall 2013; Photo: Thor Brødreskift; Courtesy die Künstlerin.

Follies, Manifold: Gabriel Lester—Haegue Yang September 23–November 23, 2014Opening: Sunday, September 21, noonwww.bonner-kunstverein.de"Folly," a term borrowed from landscape architecture, refers to an eccentric or historicizing garden device, a small structure serving no purpose other than to animate the landscape and activate fantasy within the viewer. In the exhibition Follies, Manifold: Gabriel Lester—Haegue Yang, two artists have been brought together who—via this architectural element—deal in their installations with forms of the theatrical and the activation of the viewer in space. Both artists continually return to experimental formats that challenge the conventions of exhibition configuration and take on the theme of installation in relation to theater and cinema. In their exhibition at the Bonner Kunstverein, Lester (b. 1972, lives in Amsterdam) and Yang (b. 1971, lives in Berlin and Seoul) present two expansive installations that, next to their visual, tactile and acoustic qualities, also incorporate participatory elements.

HAEGUE YANG, Boxing Ballet, Installationsansicht, Journal of Echomimetic Motions, Bergen Kunsthall 2013; Photo: Thor Brødreskift; Courtesy die Künstlerin.

Follies, Manifold: Gabriel Lester—Haegue Yang 
September 23–November 23, 2014

Opening: Sunday, September 21, noon

www.bonner-kunstverein.de
"Folly," a term borrowed from landscape architecture, refers to an eccentric or historicizing garden device, a small structure serving no purpose other than to animate the landscape and activate fantasy within the viewer. In the exhibition Follies, Manifold: Gabriel Lester—Haegue Yang, two artists have been brought together who—via this architectural element—deal in their installations with forms of the theatrical and the activation of the viewer in space. Both artists continually return to experimental formats that challenge the conventions of exhibition configuration and take on the theme of installation in relation to theater and cinema. In their exhibition at the Bonner Kunstverein, Lester (b. 1972, lives in Amsterdam) and Yang (b. 1971, lives in Berlin and Seoul) present two expansive installations that, next to their visual, tactile and acoustic qualities, also incorporate participatory elements.

Taysir Batniji, Date, 2006 - ongoing, video. Date ticker represents the number of days passing since Taysir Batniji has been unable to return home due to the closure of borders.
This month sees the launch of Los Angeles / Islam Arts Initiative (LA/IAI), which brings together nearly 30 cultural institutions throughout Los Angeles to tell various stories of traditional and contemporary art from multiple Islamic regions and their significant global diasporas.. 
One of the exhibitions part of this initiative is Shangri La: Imagined Cities at DCA’s Los Angeles Municipal Art Galleries. A companion exhibition to Doris Duke’s Shangri La: Architecture, Landscape, and Islamic Art, the show  explores issues of travel, mobility, and collection making while reflecting on the journeys that inspired and ignited Duke’s Islamic Art collection. Artists include Haig Aivazian, Jananne Al Ani, George Awde, Taysir Batniji, Charles Gaines, Mariam Ghani, Gelare Khoshgozaran, and Adrian Paci.
Shangri La: Imagined Cities opens on October 26 and will be on view through December 28. For more events and exhibitions part of LA Islam Arts Initiative, click here. 

Taysir Batniji, Date, 2006 - ongoing, video. Date ticker represents the number of days passing since Taysir Batniji has been unable to return home due to the closure of borders.

This month sees the launch of Los Angeles / Islam Arts Initiative (LA/IAI), which brings together nearly 30 cultural institutions throughout Los Angeles to tell various stories of traditional and contemporary art from multiple Islamic regions and their significant global diasporas.. 

One of the exhibitions part of this initiative is Shangri La: Imagined Cities at DCA’s Los Angeles Municipal Art Galleries. A companion exhibition to Doris Duke’s Shangri La: Architecture, Landscape, and Islamic Artthe show  explores issues of travel, mobility, and collection making while reflecting on the journeys that inspired and ignited Duke’s Islamic Art collection. Artists include Haig Aivazian, Jananne Al Ani, George Awde, Taysir Batniji, Charles Gaines, Mariam Ghani, Gelare Khoshgozaran, and Adrian Paci.

Shangri La: Imagined Cities opens on October 26 and will be on view through December 28. For more events and exhibitions part of LA Islam Arts Initiative, click here

Tercerunquinto
via freecityfreemind
We’ve started installation for:
MUNGO THOMSONWall, Window or Bar Signs 
Opening Wednesday, September 17th 6-9pm

We’ve started installation for:

MUNGO THOMSON
Wall, Window or Bar Signs

Opening Wednesday, September 17th 6-9pm

Anthony DiscenzaHow Love Came Amongst Us Unnoticed, 2002 (Excerpt)

via chaosoahc

(Source: vimeo.com)

Hyperallergic interviews Ryan Gander about his new exhibition, Make every show like it’s your last, open now at Manchester Art Gallery. 
The exhibition explores two recent themes in Gander’s work: 

‘Imagineering’ and ‘Culturefield.’ Bringing together various media to highlight the artist’s playful wit, the artworks in this exhibition will explore the relationships between author, work and viewer where the rules are constantly redefined.

In addition to the exhibition, Gander speaks to Hyperallergic about what it means to be an artist today. To read the whole interview, click here. 

Hyperallergic interviews Ryan Gander about his new exhibition, Make every show like it’s your lastopen now at Manchester Art Gallery

The exhibition explores two recent themes in Gander’s work: 

‘Imagineering’ and ‘Culturefield.’ Bringing together various media to highlight the artist’s playful wit, the artworks in this exhibition will explore the relationships between author, work and viewer where the rules are constantly redefined.

In addition to the exhibition, Gander speaks to Hyperallergic about what it means to be an artist today. To read the whole interview, click here

John Baldessari, Prima Facie: Arrogant, 2005. Archival digital print on ultrasmooth fin art paper mounted on museum paper. 26 x 42 inches
If you’re in Los Angeles tomorrow, be sure to catch John Baldessari in conversation with Meg Cranston at USC. As part of USC Roski School of Art and Design’s lecture series, the talk is free and open to the public, but it is recommended to get there early for seats. 
For the location of the talk and more details, click here. 

John Baldessari, Prima Facie: Arrogant, 2005. Archival digital print on ultrasmooth fin art paper mounted on museum paper. 26 x 42 inches

If you’re in Los Angeles tomorrow, be sure to catch John Baldessari in conversation with Meg Cranston at USC. As part of USC Roski School of Art and Design’s lecture series, the talk is free and open to the public, but it is recommended to get there early for seats. 

For the location of the talk and more details, click here