Pussykrew is a nomadic duo of Polish new media artists Ewelina Alexandrowicz and Andrzej Wojtas. The centerpiece of the show is the artists’ most recent project, the bliss of metamorphing collapse, presented as multiscreen video installation and virtual reality experience. Using real-time animation and VR sculpting tools, Pussykrew create new supernatural scenery as they re-imagine the future post-human landscape, new living beings, and their ecosystem. This multidimensional work is designed to explore speculative life forms that exist within a networked consciousness, beyond synthetic/organic conditions: the fluid entities that transcend traditional hierarchical binary systems. The audience is summoned into the artist-created universe where newly evolved, gender-free organisms become the augmented hybrids of a body, technology, and nature, and the sentient sense of the past. The Bliss Of Metamorphing Collapse is on view through April 13 at Postmasters 54 Franklin Street, New York. photographs courtesy of the gallery
Fondazione Prada’s “Surrogati. Un amore ideale” (Surrogate. A Love Ideal) comprises a selection of 42 photographic works by Jamie Diamond (Brooklyn, USA, 1983) and Elena Dorfman (Boston, USA, 1965.) The project explores the notions of familial, romantic and sexual love. Both artists focus on a specific and unconventional aspect of this universal theme: the emotional link between a man or a woman and a synthetic representation of a human. As explained by Melissa Harris, “together, Diamond’s and Dorfman’s work presented in ‘Surrogati’ vividly and non-judgmentally documents the interactions of humans with their lifelike, inanimate companions.” Both photographers portrayed these lifelike surrogates as desired, fetishized, and idealized beings, “living” as such with their flesh and blood mothers and partners, and sometimes with their immediate families as well. “Surrogati. Un amore ideale” will be on view through July 22 at Galleria Vittorio Emanuele II Piazza del Duomo, 20123. photographs by Mattia Balsamini
Bad Lucky Indian is Natalie Ball's first solo exhibition in New York. Her art engages proposals of refusal, complicating easily affirmed and consumable narratives and identities without absolutes. The exhibition will be on view through April 13 at Half Gallery 43 East 78th Street, New York. photographs courtesy of Half Gallery
Where the political left was once the clear bastion of free speech and expression in the U.S., it could be argued that the new left silences thought and speech perceived as antithetical or offensive to its values almost as much as the right wing does, or did. This is a problem for culture, and evidently, for art. “Political correctness,” says Slovenian philosopher and cultural theorist Slavoj Žižek, “is a desperate attempt by the public norms to tell you what is decent, what is not.” What Žižek suggests here is that political correctness can be harmful in its ability to obscure the truth and dilute public discourse; by sanitizing rhetoric we sanitize cultural meaning. This climate of over-the-top, politically correct theatrics has infiltrated the art world; art’s job is ultimately to push back on societal taboos and interrogate prevailing norms. Good art is almost always offensive to someone. Click here to read more
Hockney – Van Gogh: The Joy of Nature demonstrates the influence of Van Gogh on Hockney’s work, exploring both artists’ fascination with nature, their use of bright, contrasting colors and their experimentation with perspective. This exhibition is the first extensive monographic Hockney exhibition to be organised in the Netherlands. The exhibition features works representing all of the techniques in his oeuvre. None of the works have been on display in the Netherlands before. Hockney – Van Gogh: The Joy of Nature will be on view through May 6 at the Van Gogh Museum 1070 AJ, Amsterdam. photographs courtesy of Van Gogh Museum (Amsterdam)
Robert Duran: 1968–1970 presents a selection of Duran’s earliest paintings, which were born from a time when the then young artist concurrently experimented in minimalist sculpture. Closely examining Duran’s practice within these years, one can recognize the forms and structures of his sculptures loosely illustrating the paintings surfaces, as if tracing the evolution from his sculptural pursuits to the lyrical style of painting that he became known for. Robert Duran: 1968–1970 will be on view through March 31 at Karma 188 E 2nd Street New York
Lowell Ryan Projects presents Color Out of Space, a group exhibition inspired by the eponymous short story of H.P. Lovecraft that brings together works by Mark Flood, Nasim Hantehzadeh, Kysa Johnson, Laurie Nye, and Galen Trezise. In Lovecraft’s story, a meteorite crashes in a remote farm and, as it shrinks, releases globules of “impossible to describe” colors that have mutative effects on the surrounding plants, animals, and humans. No solution is found. No motive is uncovered. “Do not ask me for my opinion,” the unnamed narrator concludes. “I do not know—that is all.” Color Out of Space will be on view until April 6 at Lowell Ryan Projects, 4851 West Adams Blvd.
Silke Otto-Knapp’s Land and Sea presents six watercolor paintings that wrap around the walls of the gallery like a sweeping horizon line. Spaced apart from each other, and installed low on the wall, the paintings achieve a weighted physical presence, and depict a group of seascapes. In the center of the gallery, a configuration of freestanding walls display vertically oriented multi-paneled paintings scaled in relation to the human form. One tableau features numerous figures activating the pictorial plane in their engagements with geometric shapes. Another larger work portrays a sequence of dancers in different positions. Each composition shifts between alternating positive and negative figure-ground relationships, creating the illusion of movement. Land and Sea is on view through March 30 at Regen Projects 6750 Santa Monica Boulevard, Los Angeles. photographs by Evan Bedford, Courtesy of Regen Projects, Los Angeles
Cristian Răduță’s animals march in droves. A Noah’s Ark of improvised genetic anomalies populate Nicodim Gallery like an emergency spawning ground, but no two are paired or exactly alike. Apelikenesses can be seen from one angle and a shuffle of animalian ciphers from the other. Răduță is their shepherd, bringing to each form a unique trembling glory. This harmonious pattern of origin stories—both raw and cooked—ludically swirl in the artist’s grand tale of a double helix. His creatures are echos of archetypes, songs from a golden record played deep in outer space. Cristian Răduță: The Diamond Hunters is on view through April 13 at Nicodim Gallery 571 South Anderson Street. photographs provided by Nicodim Gallery
FOCUS: Agnes Martin is an exhibition that places the artist’s sole completed film, Gabriel (1976), in conversation with an intimate selection of her abstract paintings. A screening room and adjoining gallery of paintings creates an immersive, meditative environment that highlights the relationship between Martin’s work and her conception of joy. “I thought my movie was going to be about happiness,” Martin commented on the production of the film, “but when I saw it finished, it turned out to be about joy–the same thing my paintings are about.” The exhibition will mark the second of the FOCUS series, which encourages sustained contemplation of landmark artworks by artists rooted in the gallery’s program, alongside related selections from their oeuvres. FOCUS: Agnes Martin will be on view through April 13 at Lévy Gorvy 22 Old Bond Street, London. photograph courtesy of the gallery
I’m Blue (If I Was █████ I Would Die) reconfigures the exhibition space into an imaginary seminar room for law enforcement personnel. Upon entering, visitors encounter what initially resembles a classroom with desks, black board, and an instructional video. In a nod towards the Blue Lives Matter countermovement that has developed in response to Black Lives Matter, American Artist has sculpturally reconfigured the first two elements. Fortified school desks barricade the video screen, while blue police fabric prevents those sitting in desks from seeing the film. The black board, outfitted with the same familiar blue cloth, only allows those reading from it to speculate on the prominence of blue. Onscreen, in place of an instructional video, visitors instead find a speaking digital character. Fabricated by Artist, the character’s speech interweaves imagined and quoted statements taken from two characters, one fictional, one real. I’m Blue (If I Was █████ I Would Die) is on view through April 13 at Koenig & Clinton 1329 Willoughby Ave. Images courtesy the artist, Koenig & Clinton, Brooklyn. Photo: Jeffrey Sturges, New York
Eccentric Reflexivity 1988–1994 is a solo show of works by artist, sculptor and architect Jorge Pardo. In essence, Eccentric Reflexivity 1988–1994 is a non-nostalgic remembrance, appreciation, and documentation of the process of becoming an artist, featuring works imagined, created and produced during a specific period in Jorge Pardo’s life while and just after he was a student at Art Center College of Design in Pasadena, California. The exhibition explores and investigates Pardo’s playful aesthetic, while offering sly anti-Duchampean commentary on what can transform everyday objects, or ready-mades—many imbued with symbolic, art historical and autobiographical references—into art. Eccentric Reflexivity 1988-1994 is on view through April 20, 2019 at Petzel 35 East 67th Street, New York. photographs courtesy of the gallery
Carol Rama: Eye of Eyes celebrates the symbolic language developed by this luminary of the Italian avant-garde. Presenting works made over a nearly six decade span, the exhibition encompasses watercolors, paintings, and works from the highly-charged Bricolage series, in which Rama incorporated personally significant objects and materials into her paintings. Carol Rama: Eye of Eyes is on view through March 23 at Lévy Gorvy in New York. photographs courtesy of the gallery
Teo Hernández: Shatter appearances is the result of a long-term curatorial research around this filmmaker’s work and archive. Between 1968 and 1991, he produced approximately 160 films, ranging in time and formats (8mm, Super-8 and 16mm). The exhibition includes materials not only from his personal archive, but also from his close collaborators, friends and relatives. Centered around three themes (The Self Filmed, Bodily Vertigo; Intimate City), the goal is to emphasize his radical intention to produce a tactile cinema informed by performing arts and contemporary dance, in order to to invoke future bodies and realities. This project does not propose a canonical interpretation of his work, but rather offers the experience of some of Hernández’s concerns, obsessions, and desires circling identity, the body and the city. Shatter Appearances will be on view through April 27 at Villa Vassilieff Chemin de Montparnasse 21 avenue du Maine, Paris. photographs by Aurélien Mole
“Get Used To Us” echoes a historic LGBTQ rights slogan "We're here! We're queer! Get used to us!” Nadine Faraj’s fluid wet-on-wet technique abstracts erotic scenes to reflect an essence of sexual freedom that celebrates the mutability of gender and identity. The artist’s expressive application of pigment creates a blurring of boundaries between her subjects in a way that mirrors the suspension of self when provoked by passion. Get Used To Us will be on view through April 6 at Anna Zorina Gallery 532 West 24 Street, New York. photographs courtesy of Anna Zorina Gallery, New York City.
Six American women from diverse cultural backgrounds, spanning across South Asia, the Middle East, Puerto Rico and Trinidad, will present video artworks which challenge, both in content and in context, society’s definition of femininity. Videos by Alima Lee, Arshia Fatima Haq, Gazelle Samizay, Jasdeep Kang, Muna Malik and Yumna Al-Arashi are placed throughout the windows and storefronts of Chinatown’s historic Chung King Road by Los Angeles-based curator Zehra Ahmed. Women In Windows is on view through March 17 Windows along Chung King Road in Chinatown, Los Angeles. photographs by Douglas Fenton
Landscapes is a selection of new work by David Black that explores paranormality and everyday life in Los Angeles. The images displayed in a sequential line present a day to night cyclical narrative of a landscape of our collected dreams. These visual glitches suggest the point of view of a passenger in a fast moving car on the city’s expansive freeway system. Black is interested in capturing opposing forces: light and dark, commercial and artistic, micro and macro, and they fuse to pose questions about illusion, mortality and truth. He also likes to play with archetypes: a dove flutters on the hood of a big car in its dark shadow; sunsets stutter into a strange series moiréd by the artifice of an LED screen from which they radiate. These allusive symbols and characters suggest a twisted storyline that feels fictional but also inherently autobiographical and vulnerable. Landscapes is on view through March 30 at the Lodge 10 24 North Western Avenue, Los Angeles. photographs by Agathe Pinard
Independent curator Brooke Wise presents A Cat’s Meow, a group exhibition featuring work by Anja Salonen, Misha Kahn, Sam Crow, Thomas Barger and Ana Kraš. The exhibition explores the dichotomy of the interior versus the exterior, the domestic versus the wild, the archetype versus the atypical.
A Cat’s Meow will be on view until March 17, 2019 at Shrine and Sargent’s Daughters, 179 E Broadway, New York. images courtesy of Brooke Wise
Blum & Poe’s Parergon, a selected survey exhibition of Japanese art of the 1980s and ‘90s, curated by Mika Yoshitake. Focusing on the themes of abject politics, transcending media, performativity, and satire and simulation, this show will present the work of over twenty-five visual artists including Kodai Nakahara, Tatsuo Miyajima, Kazumi Nakamura, Yukie Ishikawa, Tsuyoshi Ozawa, and Yukinori Yanagi in an array of media spanning painting, sculpture, duration performance, noise, video, and photography. Parergon: Japanese Art of the 1980s and 1990s will be on view until March 23 at Blum & Poe Gallery, 2727 La Cienega Blvd, Los Angeles, CA. photographs by Oliver Kupper
Desert X 2019 is now open and has extended to the Salton Sea. This year the contemporary art exhibition features works by Iván Argote, Nancy Baker Cahill, Cecilia Bengolea, Pia Camil, John Gerrard, Julian Hoeber, Jenny Holzer, Iman Issa, Mary Kelly, Armando Lerma, Eric N. Mack, Cinthia Marcelle, Postcommodity, Cara Romero, Sterling Ruby, Kathleen Ryan, Gary Simmons, Superflex, Chris Taylor & Steve Badgett.
Desert X is on view through April 21 in the Coachella Valley. photographs by Eric Minh Swenson