Employing absurdist satire to address the critical issues of our time, Rottenberg creates videos and installations that offer subversive allegories for contemporary life. Her works interweave documentary elements and fiction, and often feature protagonists who work in factory-like settings to manufacture goods ranging from cultured pearls (NoNoseKnows, 2015) to the millions of brightly colored plastic wholesale items sold in Chinese superstores (Cosmic Generator, 2017). The exhibition presents several of her recent video installations and kinetic sculptures, and premieres a new video installation, Spaghetti Blockchain (2019), that explores ancient and new ideas about materialism and considers how humans both comprise and manipulate matter. Together, the works in the exhibition trace central themes in Rottenberg’s oeuvre, including labor, technology, distance, energy, and the interconnectedness of the mechanical and the corporeal. Easy Pieces is on view through September 15 at the New Museum 235 Bowery, New York. photographs courtesy of the gallery
Conceiving one’s life as a creative force is the vector shared by the 80 international artists featuring in the new temporary exhibition at MAC VAL. Titled “Lignes de vies – une exposition de légendes” (Lifelines – an Exhibition of Legends), this new highlight in the life of the Musée d’Art Contemporain du Val-de-Marne brings together work by several different generations of artists, representing every kind of practice, from photography to video via painting, installation, performance and writing. It continues a programme that, ever since the museum first opened in 2005, has worked to question modalities and instances in the construction of identity – or rather, identities. All the works shown in the extensive exhibition space deconstruct, analyse, critique or interrogate the phenomena and processes that shape and legitimise identity/identities. There are no narcissistic or self-centred gestures here; rather, the artists reconstruct and propose – more than new identities: chosen identities.
Lignes de vies – une exposition de légendes is on view through August 25 at MAC VAL Place de la Libération CS10022 94407 Vitry-sur-Seine, FR. photographs courtesy of MAC VAL
A new series of paintings by the Columbian artist, Oscar Murillo, are on view for the first time at David Zwirner’s London gallery. Murillo’s manifestation paintings, in particular, represent a marked evolution in the artist’s engagement with process. These paintings explore a considered approach to mark-making, and when viewed together, highlight the artist’s inventive and engaging studio practice. The exhibition also includes a new installation building on Murillo’s sustained interest in travel and questions around labour and the geographical flow of humanity. The artist’s body of work demonstrates a nuanced understanding of globalization, and the multiple ways in which ideas, languages, and even everyday items are displaced and increasingly intermingled. Manifestation is on view through July 26 at David Zwirner 24 Grafton Street, London. photographs courtesy of the artist and David Zwirner.
Co-organized by The Museum of Modern Art and Laurenz Foundation, Schaulager Basel, Bruce Nauman: Disappearing Acts draws upon the rich holdings of both institutions and nearly 70 lenders. Encompassing Nauman’s full career and featuring a total of 165 works, the exhibition occupies the Museum’s entire sixth floor and the whole of MoMA PS1. This joint presentation provides an opportunity to experience Nauman’s command of a wide range of mediums, from drawing, printmaking, photography, and sculpture to neon, performance, film and video, and architecturally scaled environments.
Disappearing Acts traces strategies of withdrawal in Nauman’s art—both literal and figurative incidents of removal, deflection, and concealment. Close relatives of disappearance also appear in many forms. They are seen, for example, in holes the size of a body part, in the space under a chair, in the self vanishing around a corner, and in the mental blocks that empty creative possibility. “For Nauman,” said Halbreich, “disappearance is both a real phenomenon and a magnificently ample metaphor for grappling with the anxieties of both the creative process and of navigating the everyday world.”
Bruce Nauman: Disappearing Acts is on view through February 18 @ The Museum of Modern Art, and through February 25 @ MoMA PS1, 22-25 Jackson Ave, Long Island City, New York. photographs courtesy of MoMA
Over the past thirty years, Lucas has created a distinctive and provocative body of work that subverts traditional notions of gender, sexuality, and identity. Since the late 1980s, she has transformed found objects and everyday materials such as cigarettes, vegetables, and stockings into disorienting, confrontational tableaux that boldly challenge social norms. The human body and anthropomorphic forms recur throughout Lucas’s works, often appearing erotic, humorous, fragmented, or reconfigured into fantastical anatomies of desire.
Initially associated with a group known as the Young British Artists (YBAs), who began exhibiting together in London in the late 1980s, Lucas is now one of the UK’s most influential artists. This presentation, which takes place across the three main floors of the New Museum, brings together more than 150 works in photography, sculpture, and installation to reveal the breadth and ingenuity of her practice. The exhibition addresses the ways in which Lucas’s works engage with crucial debates about gender and power, along with the legacy of Surrealism—from her clever transformations of everyday objects to her exploration of sexual ambiguity and the tension between the familiar and the absurd.
“Sarah Lucas: Au Naturel” features some of Lucas’s most important projects, including early sculptures from the 1990s that substitute domestic furniture for body parts and enlarged spreads from tabloid newspapers from the same period, which reflect objectified representations of the female body. Alongside the photographic self-portraits that Lucas has produced throughout her career, the exhibition features biomorphic sculptures including her stuffed-stocking Bunnies (1997–ongoing) and NUDS (2009–ongoing), the Penetralia series (2008–ongoing), and selections from her installations at the Freud Museum in London (2000) and the British Pavilion at the Venice Biennale (2015). These works, which complicate inscribed codes of sexual and social normativity, have never before been shown together in the US. Lucas has also created new sculptural works for the exhibition, including This Jaguar’s Going to Heaven (2018), a severed 2003 Jaguar X-Type—the car’s back half burned and its front half collaged with cigarettes—and VOX POP DORIS (2018), a pair of eleven-foot-tall thigh-high platform boots cast in concrete.
Au Naturel is on view through January 20, 2019 at the New Museum 235 Bowery New York, 10002. photographs by Adam Lehrer
Soft Pretzel features works that investigate sculptural forms and perceived tactility. Evaluating our ability to anticipate sensory experiences as they are conveyed through visual cues, each work explores implied softness, rigidity, dimension, weight and movement. The exhibition includes works by Tanya Brodsky, Rives Granade, Nasim Hantehzadeh, Lilian Martinez, Daniel McKee, Erin Morrison, Claudia Parducci, Ben Sanders and James Seward. Soft Pretzel is on view through October 28 @ Vacation Gallery, 24A Orchard Street, New York, NY 10002. images courtesy of Ochi Projects
Adrian Piper: Concepts and Intuitions, 1965-2016 is the most comprehensive West Coast exhibition to date of the work of Adrian Piper (b. 1948, New York). It is also the first West Coast museum presentation of Piper’s works in more than a decade, and her first since receiving the Golden Lion Award for Best Artist at the 56th Venice Biennale of 2015 and Germany’s Käthe Kollwitz Prize in 2018. Organized by The Museum of Modern Art, this expansive retrospective features more than 270 works gathered from public and private collections from around the world, and encompasses a wide range of mediums that Piper has explored for over 50 years: drawing, photography, works on paper, video, multimedia installations, performance, painting, sculpture, and sound.
Piper’s groundbreaking, transformative work has profoundly shaped the form and content of Conceptual art since the 1960s, exerting an incalculable influence on artists working today. Her investigations into the political, social, and spiritual potential of Conceptual art frequently address gender, race, and xenophobia through incisive humor and wit, and draw on her long-standing involvement with philosophy and yoga.
For this exhibition, the Hammer is partnering with the Institute of Contemporary Art, Los Angeles (ICA LA) to present Piper’s work What It’s Like, What It Is #3, a large-scale mixed-media installation addressing racial stereotypes. Adrian Piper: Concepts and Intuitions, 1965-2016 in on view through January 6 at Hammer Museum 10899 Wilshire Boulevard, Los Angeles. photographs by Summer Bowie
Don’t turn off the light is the second solo exhibition at Fridman Gallery for Brazilian artist, Nino Cais. It presents the artist’s take on male and female forms through installation, assemblages, and film. The artist utilizes his unique syntax, juxtaposing the banal and the fetishized, to create dreamlike unions of household objects and found photography. To read our 2014 interview of the artist, click here. Don’t turn off the light opens tonight @ 6pm and is on view through November 3 at Fridman Gallery 287 Spring Street New York. images courtesy of Nino Cais and Fridman Gallery
Jeffrey Deitch has just opened his new Los Angeles gallery with a museum-scale exhibition entitled, Zodiac, by Ai Weiwei. This inaugural exhibition at Jeffrey Deitch Gallery Los Angeles, is one of three major exhibitions by the artist concurrently on view in Los Angeles.
The center of the space is filled by one of the artist’s most remarkable works, Stools (2013), comprised of 5,929 wooden stools from the Ming (1368-1644) and Qing (1644-1911) dynasties and the Republican period, gathered from villages across northern China. Very few of these stools remain in Chinese households today, but they were once a ubiquitous staple of domestic life. Each stool reveals traces of use and evokes the experience of generations of lives. Ai Weiwei admires the stools for their simple design and solid structure, a design language that remained unchanged for thousands of years.
Complementing the stools is a new series of Zodiac works composed from thousands of plastic LEGO bricks. The set of twelve works incorporates imagery from two well-known series by the artist. The twelve LEGO Zodiac animal heads deriving from his sculpture series Circle of Animals / Zodiac Heads (2010) are overlaid onto twelve landscapes and monuments from Ai’s Study of Perspective (1995–2003) series of photographs. He appreciates how LEGO is accessible to everyone, especially young people. His use of LEGO components is a response to the pixelated structure of digital images.
Both the Stools and the Zodiac installations are assembled from accumulated elements, a creative method that Ai has employed in many of his best-known works. His interest in accumulation and collecting relates to his desire to understand how an individual relates to society, to memory, and to objects that evoke a particular time. His use of antique stools and modern LEGO bricks are examples of how his art redefines these elements, subverting their history and nature.
The sculpture Grapes (2017) reassembles the stools into a completely different shape but uses the original structural logic so that it remains true to its original form. It provides a graceful and whimsical counterpoint to the accumulation of the 5,929 stools. Zodiac is on view through January 5, 2019 at Jeffrey Deitch Gallery 925 N Orange Drive, Los Angeles. photographs by Oliver Kupper
Separation is a group show fueled by the trauma unfolding at our borders. AVA has invited artists to respond to the border crisis and examines different ways separation has existed as a political strategy in American history. "Separation" is on view through August 26th at Tin Flats 1989 Blake Avenue, Los Angeles. photographs by Lani Trock
Beyond the Funny Farm! Crypto-K, Cutouts, Cut-ups, Copies, Mirrors, Membranes, and Temporal Algorithms marks Dennis Koch's third solo exhibition with Luis de Jesus. In this exhibition, Koch creates a mind-map of relationships that find, build, and amplify meaning in the form of sculptures and drawings. Wooden newsstand-like sculptures display 100 vintage copies of LIFE magazine, each carved page by page to reveal interior images. Known as the first all-photographic American news magazine, LIFE revitalized itself during the 1960s in response to the popularity of television media. Koch's interest in LIFE as a cultural artifact stems from a time-parallel between contemporary political upheaval and the equally tumultuous events of the 1960s. The exhibition is on view through July 28 at Luis de Jesus 2685 S La Cienega Blvd. Los Angeles. photographs by Summer Bowie
How do radical ambitions of “self-care” persist or depart from capitalist society’s preoccupation with wellness and the industry surrounding it, particularly when filtered through technological advances? How can we imagine personal wellness that complicates or diverges from capitalist and consumerist tendencies? Taking its name from the common valediction, which is both an expression of familiarity and an instruction of caution, take care, is a group exhibition that considers the many tensions surrounding the possibilities of self-care. Participating artists: Hayley Barker, Darya Diamond, Ian James, Young Joon Kwak, C. Lavender, Sarah Manuwal, Saewon Oh, Amanda Vincelli, and SoftCells presents: Jules Gimbrone. Gas is a mobile, autonomous, experimental and networked platform for contemporary art. take care will be on view through July 20, and can be seen from 12pm-6pm on Saturdays in front of BBQLA 2315 Jesse Street, Los Angeles CA 90023. photographs by Lani Trock
In a quest to challenge our perceptions of materiality, objectivity, gender identity and medium, Alex Rojas has curated a group show that pushes the individual boundaries of self. Featured artists include Nasim Hantehzadeh, Carolyn Janssen, Larissa Lockshin, Erica Mahinay, Sophia Narrett, and Sarah Ann Weber. These works highlight the perennial and intimate connection with chaos inherent in human existence. Speaking to a desire for reason, these works provide intimate outlets for exploration and clarity through identity and physicality. The exhibition is on through July 1, 2018 at OOF Books 912A Cypress Ave. Los Angeles, CA 90065. photographs by Lani Trock
In residency with Coaxial, Maria Maea creates an environmental sound installation that explores coming into consciousness as an artist and her daily practice of getting out of her own way. Altering the mundane as sacred she constructs her personal mythology – out loud. 'When I Came To' is on view since May 5th at Coaxial Arts Foundation 1815 S Main St. Los Angeles. photographs by Lani Trock
BEYOND THE STREETS (BTS) is the premier exhibition of graffiti, street art and beyond, celebrating the soaring heights to which the world’s most recognizable modern art movement has risen. BTS is a groundbreaking multimedia showcase of paintings, sculpture, photography, installations and more throughout 40,000+ sq ft of industrial indoor and outdoor space. The exhibition is curated by Roger Gastman, with additional curation by Evan Pricco, Caleb Neelon, and David Villorente. Beyond the Streets is on view through through July 6 at Werkartz 1667 N. Main Street, Los Angeles. photographs by Oliver Kupper
Mindy Shapero’s anthropomorphic sculptures are like figures emerging from such night visions. Imagined though also strangely familiar, her large-scale works are totemic, suggesting archeological ruins or manifestations of Jungian archetypes. Made with humble materials like spray paint and bits of hand-painted cut paper alongside more opulent materials like richly pigmented felt and gold leaf, it is Shapero’s aesthetics of relentless accumulation that give her works their energy, as hundreds upon thousands of tiny bits grow into human and architecturally scaled objects. Portals and radiating forms, concentric rings and infinite stripes, a hypnagogic hallucination of shapes and colors beckon us into what might be the artist’s dreaming mind turned inside out in a flash of infinity. Second Sleep is on view through June 10 at The Pit 918 Ruberta Avenue, Glendale. photographs by Lani Trock
Lauren Halsey’s dream-world is cosmic, funky, carpeted, and technicolored; an atemporal, fantastical, and hyperreal vision of black liberation which she conjures via site-specific installations that celebrate her childhood home. Click here to read more.
Come Undone explores the nuanced processes of aging and loss. Set against cultural constructions of beauty ideals that pedestal the flawless and utilize digital modes of erasure, this series of new latex sculptures use the language of tactile vulnerability. The artist prods dominant adverse representations and perceptions of aging, while considering the stigmas of trauma and grief. Come Undone highlights the power of disorder, metamorphosis and the body in flux. Reservations for overnight stays in Ali Prosch's Come Undone are open. Guests are read a bedtime story and served a full breakfast in the morning, prior to checkout. For reservations, contact firstname.lastname@example.org. The exhibition will be on view through May 20 at Bed & Breakfast. photographs by Lani Trock
Blue State explores the invention of “blueness” through various historical narratives, examining the role of the color as a catalyst for geographic and technological discovery. Once the essence that inspired scientific pilgrimage, blueness is now itself a geographic measuring instrument, serving as a shorthand to map political constituencies across the American landscape. District by district, blueness blankets a matrix of values under a single shade of establishment liberalism. A desire for exactness, for natural blueness rich in detail and meaning, has given way to its opposite: blueness as projection, a tool of blurring and false ascription. Blue acts not as an organizing principle but as an organizing force, one that points us at once to the paradoxes of discovery and repression, of global apocrypha and intimate secrets, of the joy of nature and its dissolution into the ether. Featured artists include: Cameron Crone, Cynthia Daignault, Paul Kremer, Divya Mehra, Monique Mouton, Elizabeth Marcus-Sonenberg, and Elise Rasmussen. Blue State will be on view through April 14 at Night Gallery 2276 E 16th Street Los Angeles. photographs by Lani Trock
The Taste Of Metal In Water is a body of new paintings in a sculptural sound installation. This show marks the artist's first solo exhibition with the gallery and unspools like a vivid session of lucid dreaming. Metal pipes slice the space into particular trajectories. The pipes, extensions of the guts of the building, carry neither electricity nor water, but instead small and resonant hiccups that spread throughout the space. A series of new paintings operate collectively as a stream of memories. The show will be on view through April 14 at Ghebaly Gallery 2245 E Washington Blvd. Los Angeles. photographs by Lani Trock