Willfully Surrender to the Chaos of Nature in Tali Lennox's Tremors @ Nicodim in Los Angeles

In her first solo exhibition with Nicodim, artist Tali Lennox enlists erupting volcanoes, glowing forests and mystical landscapes to explore the pleasure of submitting to the chaos and the power of nature. Tremors finds a range of female bodies in varying states of capitulation to an onslaught of mother nature’s harshest elements, finding common ground between internal and external states of disorder.

Originally inspired by the German anthology of illuminations Das Wunderzeichenbuch: The Book of Miracles, this collection takes the lead from the book of Renaissance paintings that depict both biblical and folkloric tales with a decidedly apocalyptic flair.

Shells and oysters proliferate the canvases, appearing sometimes as ominous hallucinations and at other times morphing directly into the features of the painting’s subjects, symbolising a surrender and a fusing to nature.

 
 

Tremors is on view through April 6 @ Nicodim, 1700 S Santa Fe Avenue #160 Los Angeles, CA 90021

[REVIEW] Nurturing Nature in Lost Wild: Art on the Edge of the Anthropocene @ Whitney Modern in Los Gatos

text by Chimera Mohammadi

How do we nurture the force that created us? This seemingly paradoxical question defines Lost Wild, the group show on view at the Whitney Modern in Los Gatos. The show grapples with various such paradoxes tethered to our relationship with nature: Keith Petersen’s breathtaking photography of chemical reactions claims organic aesthetics through inorganic means, and Karen Olsen-Dunn’s otherwise conventional landscapes glitch and freeze off the canvas and out of the realm of recognition. Dean Bensen and Demetra Theofanous’s glass leaves and bird nests solidify typically flexible structures into embodied fragility, reminiscent of the environmental precariousness that defines our current global epoch. After luxuriating in these contradictory states, the show sets about to address that core question of nurturing, calling in motifs of youth, restoration, and lushness. Melissa Mohammadi’s sprawling botanical studies and tunnel books house disparate plants, bound together by unlikely familial forces and working together toward healing. Tamera Avery’s tenderly rendered masked subjects are at once children and revolutionaries, often modeled after her own son. Marie Cameron’s paintings cope with climate change through a fantastical fairy tale lens, while Sheila Metcalf Tobin’s burst out of the confines of the canvas in radiant, sun-dappled celebrations of natural nostalgia.

Lost Wild is on view through March 30th at Whitney Modern, 2nd Floor of 24 N Santa Cruz Ave 2nd floor, Los Gatos, CA 95030.

Jota Mombaça Uses Berlin's Decompositional History to Slow Time for Mourning @ CCA Berlin

A CERTAIN DEATH/THE SWAMP, Jota Momaça’s exhibition at CCA Berlin – Center for Contemporary Arts, was conceived, at first, through extensive conversations around the curious topography of Berlin, said to be entirely built atop drained wetlands. From swamp to city, a teleology of progress, a survival scheme, emerges. Looking at the devastating flash floods of 2021 that affected parts of Belgium, Germany and surrounding countries, Mombaça then conjures up reversal—what of cities that again turn into swamps, a form of dissolution fascists went in terror of (‘Drenare la palude!’, once howled a determined Benito Mussolini) throughout the twentieth century? From Berlin’s locality, we shift our gaze towards a planetary predicament: that of atmospheric phenomena continuously threatening terminal collapse across disparate geographies. until the last morning (2023), a newly commissioned video work, was shot among the mangroves and marshlands of Pará, in the Brazilian Amazon. Covering about 700,000 hectares, these mangroves and marshlands depend on a constant influx of fresh water from rainfall and from the Guajará Bay rivers and streams. To that end, the camera pans to the sky, observing cloud formations, their movements and maneuvers. The ecosystem’s survival depends on this unpredictable choreography—to observe the weather is thus to forecast whether or not a line of continuity can be drawn into the future. 

A CERTAIN DEATH/THE SWAMP is on view through December 2nd at CCA Berlin, Kurfürstenstraße 145, 10785 Berlin.

The Yellow Light at 6pm @ Galerie Max Hetzler

Left to right: Günther Förg, Vivian Suter
Installation view: Galerie Max Hetzler, Berlin, 23 June – 19 August 2023
Courtesy the artists and Galerie Max Hetzler, Berlin | Paris | London, Photo: def image 

Galerie Max Hetzler explodes into colorful, ethereal questioning with a group show featuring work by Darren Almond, Georg Baselitz, Glenn Brown, André Butzer, Sarah Crowner, Carroll Dunham, Hedwig Eberle, Ida Ekblad, Günther Förg, Katharina Grosse, Alex Israel, Melike Kara, Alex Katz, Friedrich Kunath, Beth Letain, Jake Longstreth, Tal R, David Salle, Julian Schnabel, David Schutter, Sean Scully, Ben Sledsens, Mònica Subidé, Vivian Suter, Liliane Tomasko, Tursic & Mille, Rinus Van de Velde, Grace Weaver, Emma Webster, and Toby Ziegler.

Despite Cézanne’s insistence that the world, with all its strangeness, only becomes present, comprehensible and recognizable in images, the onset of modernity initiated a disappearance of nature and landscape in the course of a rational logic of progress. Matisse, Munch or Klee were already only able to preserve them in pictorial form. With 30 individual views on landscape and nature, the group exhibition das gelbe Licht 6 Uhr nachmittags (the yellow light at 6pm) maps out the hazy mosaic of a frail present: whether as a melancholic reminiscence of man-made devastation, a stoic contemplation of the fragile fabric of everyday life or a daring invention of an uncertain future yet to come.

The work is largely without people. Yet, as the exhibition title, a line of poetry by the late Rolf Dieter Brinkmann suggests, we, looking and empathizing, are ourselves the missing human reference. For the question of how we want to fit into the world arises again and again.

the yellow light at 6pm (das gelbe Licht 6 Uhr nachmittags) is on view until August 19th at Galerie Max Hetzler, Bleibtreustraße 45, 10623 Berlin

Seonna Hong Presents MURMURATIONS @ Hashimoto Contemporary in New York

Seonna Hong, Super Position, 2023. All images courtesy of Hashimoto Contemporary.

Seonna Hong, Super Position, 2023. All images courtesy of Hashimoto Contemporary.

On June 10, Hashimoto Gallery is set to present Murmurations, a solo exhibition by Los Angeles-based artist Seonna Hong.

In her latest body of work, Hong revisits larger figurative themes, relational dynamics and human connection. Looking to these themes as a way of understanding how people are emerging from the pandemic, Hong seeks to reconnect with the world around her.

Finding inspiration in murmurations (defined both as the way in which birds flock together, as well as the utterance of low continuous sounds) and its two distinct meanings, the artist is searching to find ways to connect and communicate. Through this journey, Hong came to understand that human connection is needed not only for contentment, but also for mental and physical well-being. The paintings in Murmurations reflect Hong’s attempt to connect with forgotten landscapes, encouraging us to rediscover the world around us.

Murmurations is on view through July 1 @ Hashimoto Contemporary, 54 Ludlow Street New York

 
 

Antler: A Fashion Editorial By Jaara Lange & Camille Pailler

photography by Jaara Lange
art direction and styling by Camille Pailler
styling assistance by Katya Makhno
makeup by Leana Ardeleanu
hair by Reiya Yamaoka
modeling by Gigi @ Let It Go

AUTRE: Where does your inspiration come from?

JAARA LANGE: Looking back, my art was born from a deep need to escape a world that was not safe for me. So, I created a world for myself accordingly. Even today, I am inspired by daydreams, science fiction, and fairy tales. I created my own world where I could exist, which was beautiful and dark at the same time. I think this deep experience still inspires me today.

 
 

AUTRE: What drew you to Gigi as a muse?

LANGE: Gigi is a powerhouse and role model for me at the same time. I don't know anyone who enters the room with such presence — that fascinates me a lot. In her I see strength, beauty, and above all, resilience. We are all very grateful for what she does for the Berlin trans community and as sisters we support each other.

 
 
 
 

AUTRE: Why is nature such a dominant subject in your photography practice?

LANGE: Nature has always fascinated me. It represents a place of refuge for me. Out in the green, I have always felt freer — nature is a space without condemnation or connotation. It forms a complete projection surface for me with its wealth of forms, surface structures, and change. It is the perfect stage for me. Today, I only need to embed my protagonists in nature as a stage, wait for the right light and the spectacle is complete. I find this fascinating every time anew, because it is also so simple.

 

Kate MccGwire Mines Tension Between Nature & the Manmade World In Undertow @ galerie Les filles du Calvaire in Paris

Known for her muscular, writhing forms made with feathers, and reminiscent of Classical sculpture and creatures from mythology, Kate MccGwire’s works explore dualities of aesthetics, being simultaneously seductive and repulsive; form, being both organic and abstract; and movement, appearing fluid yet being static. As she has noted, “I am interested in the interplay of opposites which runs like a leitmotif through everything I do. It is as if the work needs that tension to create its own internal equilibrium; it is an expression for me of the duality I see all around me and the materials I choose need to be able to physically embody this.”

Influenced by the cycles, patterns and currents of water, these works explore conflicting relationship between nature and the manmade world. Observing the dichotomies of nature on her daily wild swims and walks, MccGwire makes work inspired by visual rhythms and sequencing observed in flowing water, but also its rupture, control and diversion through human interference with dams and weirs.

The artist’s process of creation begins with the intense and repetitive method of collecting and preparing the feathers, each of them carefully examined and classified according to its size, shape and natural color. In a compelling and meditative process, MccGwire arranges the feathers to mimic the overall form and patterning of the pieces informed and inspired by the anatomy of birds’ wings. Discarded, impermanent and overlooked materials have always fascinated the artist. In her piece TAINT she contrasted lead sheet with intricately arranged feathers, creating an anaemic, skin-like surface. In the visceral forms of UNDERTOW, the artist is seduced by the beauty, flow, power and turbulence of flowing water and ultimately drawn to the danger that lies beneath the surface.

Undertow is on view through May 7 @ galerie Les filles du calvaire 17 rue des Filles-du-Calvaire, 75003 Paris

 
The Artist holding a feather in her hand and sitting over an art piece.

Kate MccGwire
Making of SASSE/SLUICE, 2018
Photo : Jo Scott

 

Melike Kara, My Beloved Wild Valley @ Arcadia Missa in London

Artist Melike Kara’s first solo exhibition in London, “My Beloved Wild Valley,” is now on view at Arcadia Missa. For this exhibition, Kara’s figures are encircled with signifiers of place; perhaps locating their identities as connected to the heritage of the artist herself, as well as outside of being read simplistically through the body. These figures are read through their landscapes and histories. Markers of site and culture, such as sunflowers and the setting sun, speak of history as identity, a more complex matrix from which to map a sense of self, one made from ghosts. The presence and characters of Kara’s figures are created through the interaction they have with one another on the canvas and the placing of them within contexts, signifiers, or even areas of negative space.

“My Beloved Wild Valley” is on view through July 31 at Arcadia Missa 14 – 16 Brewer Street, First Floor
Soho, London. photographs by Ollie Hammick. courtesy the artist and Arcadia Missa, London

Hammer Projects Present: Max Hooper Schneider @ Hammer Museum In Los Angeles

Artists are often likened to inventors or scientists, and in the case of Max Hooper Schneider the comparison is more than metaphoric. Schneider’s background in landscape architecture and marine biology strongly informs his artwork. Research and scientific investigation are key to his process. He explores the relationships between philosophy and nature, the personal and the political, destruction and construction, and what he calls nonhuman and human agents. Blending his diverse areas of expertise, his idiosyncratic sculptures, installations, and drawings challenge conventional systems of classification, suggesting a worldview that strives to dislocate humans from their assumed position of centrality and superiority as knowers and actors in the world. Schneider created a new immersive installation for his Hammer Projects exhibition, his first solo museum show. The exhibition is on view through September 1 at the Hammer Museum 10899 Wilshire Blvd.
Los Angeles. photographs courtesy of the gallery