Shirin Neshat: I Will Greet The Sun Again @ The Broad

Originated by The Broad, Shirin Neshat: I Will Greet the Sun Again is the largest exhibition to date of internationally acclaimed artist Shirin Neshat’s approximately 30-year career. Taking its title from a poem by Iranian poet Forugh Farrokhzad, the exhibition (which presents approximately 230 photographs and eight video works) offers a rare glimpse into the evolution of Neshat’s artistic journey as she explores topics of exile, displacement, and identity with beauty, dynamic formal invention, and poetic grace.

Beginning with her early photograph series, Women of Allah, the exhibition also features iconic video works such as Rapture, Turbulent, and Passage, monumental photography installations including The Book of Kings and The Home of My Eyes, and Land of Dreams, a new, ambitious work encompassing a body of photographs and two immersive videos that will make its global debut in the exhibition. I Will Greet the Sun Again is on view through February 16, 2020 at The Broad Installation Images by Joshua White, courtesy of The Broad

Brooke Wise Teams Up With Comedy Central & Sexy Beast To Host Aloha From Hell Film Festival

This Halloween, curator Brooke Wise teamed up with Sexy Beast and Comedy Central on a special third installment of her short film festival, Aloha From Hell, with proceeds benefitting Planned Parenthood Los Angeles. All of the wild, comedic, satirical and spooky videos selected for the festival are under 5 minutes in length, chosen via open online submission, and crafted in response to this year’s theme: SHE DEVILS.

Theodore Boyer: Star Maps @ Show Gallery In Los Angeles

As a California native, adopted at birth, the artist began his wanderlust at a young age, traveling extensively throughout the world seeking the truth to humanity’s origins. Theodore’s artistic practice is a response to acquired knowledge, and his applications are often learned through personal experiences. Color and form are paramount in the vocabulary of his work, combining dyed textile, scenic paint, oil paint, dirt, gravel and grout to convey the constant balance between nature and humanity. 

For the artist: “My research and artistic lineage is one blossom in a garden of artists, philosophers and mystics who through their own journey have all come to the same conclusion: we, every living organism, come from the stars.” Star Maps is on view at Show Gallery 1515 N Gardner St, Los Angeles. photographs courtesy of the gallery

Wangari Mathenge: Aura of Quiet @ Roberts Projects In Los Angeles

In this current body of work, Wangari Mathenge, draws her inspiration from “The Danger of a Single Story,” a 2009 Ted Talk delivered by the author Chimamanda Ngozi Adichie. In this vein, Mathenge takes as her subject complex human beings and situations, focusing her attention on those liminal moments that are rarely distinguished or registered but are essential to the narration of an unabridged existence. Aura of Quiet is on view through November 16 at Roberts Projects 5801 Washington Blvd, Culver City. photographs courtesy of the gallery

Micro Era: Media Art from China @ Kulturforum In Berlin

From documentary film images, and the adapted use of classical film language to the aesthetics of Japanese Anime, the works of Micro Era focus on and explore the relationships between mind, body and technology – with installations and single-channel videos ranging from the 1980s to the present. Historically, within the Euro-American context, video art is often regarded as a democratising art form – through the rapid circulation of information and global events by fast-access technologies. Cao Fei, Fang Di, Lu Yang, and Zhang Peili scrutinise the seductive thesis of this democratisation by reflecting in their visual language the mass production of goods as well as how images and virtual subjectivities are produced and consumed, and how we understand our world through imaging technology. At the same time, in the cross-generational exhibition with documentary, narrative and installation references and the expansion into virtual space, the central directions in the development of media art in China are presented. Micro Era is on view through January 26 2020 at Kulturforum Stauffenbergstraße 41 10785 Berlin. photographs courtesy of the Staatliche Museum

Listen To The Surreal and Dreamy First Track Off Ohslo's New Album "Honeymoon"

Late at night, Dave Sorry and Nanne Hil record slow songs in their bedroom. Sitting closely together on the floor and musing amidst their synthesizers allows them to step back from the seriousness of life. Their electronic jams take inspiration from all sorts of (other)worldly stories, melodies and rhythms and are instantly recorded to capture the vibrancy of the moment. Ohslo’s live performances invite you to join them in this hidden place, for a sit-down between white sheets and synthesizers. The duo’s sounds - glacial beats and warm flutes - are put to surreal visuals, created in collaboration with their collective of friends in the North of the Netherlands. Ohslo released their Comfort EP and Healthy Animal EP through Purple Noise Record Club in 2015 and 2016. Their first full-length album Honeymoon is set to be released in November 2019 through Babyrace Records. The first single taken from the album is Like You. Out October 30th. Click here to purchase on iTunes or Apple Music, and available on Spotify and streaming platforms.

Genesis Breyer P-Orridge On Her First Ever West Coast Exhibition

Tom of Finland Foundation and Lethal Amounts present iconic artist Genesis Breyer P-Orridge exhibition PANDROGENY I & II. Opening tonight and running until November 24th 2019 at Tom of Finland Foundation and Lethal Amounts Gallery. This marks the first time that the legendary artist’s work has been on view on the West Coast. Below is a sneak peek from a very special interview we did of Genesis Breyer P’Orridge with curator Hans Ulrich Obrist for our next print issue. Click here for tickets to the exhibitions.

HANS ULRICH OBRIST The exhibition in Los Angeles will be called Pandrogyny 1 and 2?

P-ORRIDGE For two locations. One at Tom of Finland, in his house... they keep it as it was when he lived there. When you do an exhibition, what you put there goes amongst all his things, so that one is mainly sculptures. There was a mini retrospective in Holland this year, then it went to Berlin, and now Tom of Finland. It has things like ‘Tongue Kiss,’ which is two wolf heads, and the tongues have been replaced with knife blades. The one above is turning slowly and once every turn the two ends of the knives click. Another one is Bubblegum Machine, and it represents the womb. It has ice cubes and scorpions. It’s the myth of biological replication.

OBRIST Living scorpions?

P-ORRIDGE No unfortunately. It would be nice but no one would let me do that, but real scorpions that have been dried. So it’s things like that, they’re all created out of things that have been around me in my living space, that’s how I always work. Things that are already here that have been drawn to me in some way and then they become something.

OBRIST: What’s your relationship with L.A.?

GENESIS BREYER P-ORRIDGE I never had one really. I would never live there. To me it has a strange atmosphere. It’s like it has a big cave underneath, with a dark energy in it that you can fall into by mistake. It doesn’t suit me at all.

Jim Shaw: Strange Beautiful @ Praz-Delavallade In Paris

Uncle Sam, sickened by Gremlins from the Kremin. Checkers, Richard Nixon’s dog. Brett Kavanaugh, a judge accused of rape, appointed to the Supreme Court by Donald Trump. Mark Zuckerberg, one of the new masters of the world. Jim Shaw’s recent paintings are swarming with grotesque and nefarious figures evoking contemporary American history. Yet, even if these works drip with a sharp satirical intent, we are not dealing with a form of political art, for instance, AgitProp – the creation of an ideological community around a form or an idea. Jim Shaw’s historical models are more distinctively anachronistic, closer to History Painting as it was practiced at the end of the nineteenth century. History Painting brought together discursive tools stemming from a critical rationalist tradition, alongside allegorical images. Another reference of Shaw’s, older still, is Hieronymus Bosch’s hermetic and nightmarish visions, the intent of which remains, even today, half a millennium after their creation, the subject of the most contradictory interpretations. Strange Beautiful is on view through November 2 at Praz-Delavallade 5 rue des Haudriettes, Paris. photographs courtesy of the gallery

"Back Side / Fashion from Behind", An Off-Site Exhibition @ Musée Bourdelle In Paris

In a society that is obsessed with people’s faces, "Back Side / Fashion from Behind" is an original and unexpected theme. By addressing our body’s relationship to clothing from a social and psychological point of view, the exhibition questions the perception we have of our own and other people’s backs.

The exhibition spreads across the Great Hall of Plasters, the contemporary Portzamparc extension and Antoine Bourdelle’s studio. The models on display establish a dialogue between fashion and sculpture, a dialogue with the works of this great master of the turn of the 20th century. "Back Side – Fashion from Behind" gives us a new take on the works of Bourdelle: we look with new eyes at the powerful, muscular backs and the slender outlines of his sculptures. "Back Side / Fashion from Behind"  is on view through November 15 at Musée Bourdelle 18, rue Antoine-Bourdelle, Paris 15e. photographs courtesy of Palais Galliera

Jasmine Nyende: Crested Crane @ AA|LA Gallery In Los Angeles

Through conversation, meditation, and rediscovery of “lost pasts,” Jasmine Nyende uses art to explore and mediate her mother’s southern American roots and her father’s Ugandan genealogy. Incorporating paintings, fiber arts, performance, poetry, meditation, spoken word, and embroidered ready-to-wear clothes, Nyende manifests an alluring confluence of body, identity, and ancestry.

Crested Crane materializes through Nyende’s use of fibers and manifests a particular mending of personal identity that echoes throughout the body of work. For Nyende, art is a way to speak to ancestors while asserting her own individuality. Specifically, the crocheted and knitted works relate to the American history of Black female labor in the fiber arts. The web of soft textiles act as connective tissue, binding the vibrant images and colorways into a complex yet comprehensive family narrative that would otherwise be inaccessible. Crested Crane is on view through December 14 at AA|LA 7313 melrose avenue, Los Angeles. photographs courtesy of the gallery

Kate Crawford & Trevor Paglen: Training Humans @ Osservatorio Fondazione Prada In Milan

Training Humans, conceived by Kate Crawford, AI researcher and professor, and Trevor Paglen, artist and researcher, is the first major photography exhibition devoted to training images: the collections of photos used by scientists to train artificial intelligence (AI) systems in how to “see” and categorize the world.

In this exhibition, Crawford and Paglen reveal the evolution of training image sets from the 1960s to today. As stated by Trevor Paglen, “when we first started conceptualizing this exhibition over two years ago, we wanted to tell a story about the history of images used to ‘recognize’ humans in computer vision and AI systems. We weren’t interested in either the hyped, marketing version of AI nor the tales of dystopian robot futures.” Kate Crawford observed, “We wanted to engage with the materiality of AI, and to take those everyday images seriously as a part of a rapidly evolving machinic visual culture. That required us to open up the black boxes and look at how these ‘engines of seeing’ currently operate”. Training Humans is on view through February 24 2020 at Osservatorio Fondazione Prada Corso Vittorio Emanuele II, 20121 Milano

Group Exhibition: Dark Fantasy @ UTA Artist Space In Beverly Hills

Based on the concept of Archeofuturism, which focuses on excavating forms of the past in order to shape future narratives of design, Dark Fantasy guides the viewer through a whimsical world of the fantastic and the obscure, questioning the constraints of reality and what it means to dream. By highlighting advanced techniques, traditional master craft, and new technology, Dark Fantasy brings to life organic and telluric forms that allude to bygone eras of production. The exhibition explores over a decade of functional art from 24 artists from Carpenters Workshop Gallery’s program, creating a dialogue between space, time and contemporary archeology.

The exhibition features over fifty pieces by Virgil Abloh, Atelier Van Lieshout, Maarten Baas, Aldo Bakker, Sebastian Brajkovic, Fernando and Humberto Campana, Nacho Carbonell, Wendell Castle, Vincenzo De Cotiis, Ingrid Donat, Vincent Dubourg, Najla El Zein, Kendell Geers, Steven Haulenbeek, Anton Hendrik Denys, Kostas Lambridis, Mathieu Lehanneur, Frederik Molenschot, Rick Owens, Random International, Robert Stadler, Studio Drift, Charles Trevelyan, and Verhoeven Twins. Dark Fantasy is on view through November 16 at UTA Artist Space 403 Foothill Rd. Beverly Hills, California

Joshua Miller: Liquid Products and Frozen @ T293 Gallery In Rome

“There is a central character in these paintings, and it’s Painting or Language itself. It’s as if there were a being which put on many outfits and spoke in many voices in order to achieve it’s objective: communication. The story is ‘the history of painting.” Joshua Miller

‘Liquid Products and Frozen Form’is the first Italian exhibition of the American artist Joshua Miller (1981, Colorado, United States). Seven large canvases will lead the spectator on a path that, exploring the phenomenology of the visual language, assumes the form of an imagery atlas that will tell the history of painting. Drawing inspiration from popular culture, Miller paints simple and everyday objects with an unusual and original approach. The artist experiments with old techniques and juxtaposes varied pictorial styles to obtain an emotional and expressive structure which exposes the entire range of moods and personalities inherent to painting. Liquid Products and Frozen is on view through October 23 at T293 Via Ripense 6, Roma

Tatsumi Hijikata & Eikoh Hosoe: Collaborations With Tatsumi Hijikata @ Nonaka-Hill In Los Angeles

As Japan urbanized in the economic boom period in the decades following WWII, Hosoe felt a growing sense of urgency to revisit the rural Tohoku region where he had been evacuated as a child to escape Tokyo air-raids.  The photographer enlisted dancer Tatsumi Hijikata, who is from the same Tohoku region, to enact the "sickle-toothed weasel", a vicious god of local folklore and a threat that terrorized the young displaced Hosoe, who also associates his time in that region with an innocent happiness within an otherwise dark period.  Hosoe said:

“In the village, he played with children, was laughed at by farmers along the roadside, shat in the middle of a field, attacked a bride, kidnapped a baby, and ran through the rural landscape. Almost all the shooting was done guerrilla style in a flash. This was something that could only be achieved through photography. No other medium — film, television, painting, or novel — could have been used in its place. At that moment, I was certain of the superiority of photography.” - Eikoh Hosoe, “Foreword” in Kamaitachi 1. Eikoh Hosoe: Collaborations With Tatsumi Hijikata is on view through November 30 at Nonaka-Hill 720 N. Highland Ave., Los Angeles

Autre Celebrates Its 8th Issue Featuring John Waters and A Special Collaboration With Old Pal at The Friend In Silverlake

photographs by Oliver Maxwell Kupper

The Pleasure Ground: Matt Savitsky Presents Two Video Installations @ Cloaca Projects In San Francisco

Matt Savitsky’s new installation, ​The Pleasure Ground​, contains two video installations Savitsky conceived this year while on a self-created residency in his hometown (Lancaster, Pennsylvania). ​Crop Circles​ and ​Turn Bridge​ (2019) construct viewpoints by way of a fixed configuration between a sculptural element to a single camera. In both video images a disconcerting interplay of figure and ground is produced by the movement of each sculptural device relative to the camera’s position, which turns each in a continuous 360 degree rotation. Before becoming video objects, the images prompt a deconstruction of their viewpoint into a relationship defined by the coexistence of subject, object, and support.

The Pleasure Ground is on view through October 26 @ Cloaca Projects 1460 Davidson Avenue San Francisco. photographs by Andreas Tagger

Chris Hood Presents PARA @ Praz Delavallade in Los Angeles

Drawn from an archive of personal photographs, self-portraits, advertising imagery and anatomical studies, the figures that Hood paints seem to be in a trancelike state — dreaming, sleepwalking, or hypnotized — suggesting that the disparate images that make up the compositions may be organized by dream logic or governed by a series of undetermined associations. With “portal” vignettes of sunsets, caves, and mountains, the paintings create a telescopic sensation of simultaneous depth and flatness. These sly structural allusions to the devices of artificial perspective act in constant tension by disorienting interpenetrations of layered images and the flatness of the stained surface. Their chief interest is in the complication and the relinquishment of boundaries: between the individual and the archetypal; media and medium; the subjective and the collective; the front and the back of the canvas. What may appear as collage is revealed to be a collision, with the picture plane serving as an interface between the image and the imagined.

PARA is on view through November 9 at Praz Delavallade 6150 Wilshire Blvd Los Angeles, CA 90048. photographs by Marten Elder, courtesy of the gallery

Zoe Buckman: Heavy Rag @ Fort Gansevoort In New York

Zoe Buckman’s solo show is explicitly linked to women’s work. Culled from deeply personal experience, the exhibition embraces the domestic archetype by balancing an ambiguity between vulnerability and strength. Occupying the three floors of the gallery, the bodies of work are interconnected by the manifestation of the artist’s relationship to physical spaces—the home, her mother’s kitchen table, the boxing gym. After learning of her mother’s terminal diagnosis, Buckman began to employ a variety of techniques and materials traditionally adorned by women; embroidered tea towels, quilting and pottery. The works which take form as misshapen tea cups, clusters of boxing gloves, and framed flatworks are intrinsically referential to the bodily form; all at once unveiling a complex dichotomy of trauma and pleasure and the slippage in between. Heavy Rag is on view through October 12 at Fort Gansevoort 5 Ninth Avenue, New York. photographs courtesy of the artist and Fort Gansevoort, New York