In this podcast, based on The Art Newspaper's regular interview series, our host Ben Luke talks to artists in-depth. He asks the questions you've always wanted to: who are the artists, historical and contemporary, they most admire? Which are the museums they return to? What are the books, music and other media that most inspire them? And what is art for, anyway?

Renée Green talks to Ben Luke about her influences—from writers to musicians, film-makers and, of course, other artists—and the cultural experiences that have shaped her life and work.

For Frieze Los Angeles, artist and choreographer Madeline Hollander continues her search for patterns of perpetual motion in oft-imperceptible realms, from the materials and phenomena of nanoscience to the cosmos. Looping events are, for Hollander, sites which illustrate the psychological ambiguities of rhythm—teetering between sameness and difference, objectivity and subjectivity.

The eighty-eight watercolors which comprise Hollander’s Day Flight correspond to the International Astronomical Union (IAU)’s officially recognized constellations. Rather than follow the arbitrary and accepted patterns drawn up by astronomers, which flatten each star onto a single plane, Hollander has created a celestial route in three-dimensions, moving from closest to farthest star, demarcated by map pins. For her presentation at Frieze Los Angeles, the watercolors representing each constellation has been organized by month, functioning as a calendar of the night sky over the course of a year.

A color-coded system nested throughout Hollander’s artworks offers a language decipherable to the artist through her synesthetic connection between color, language, and gesture. Their border’s candy stripe patterns spell the month in which each constellation appears clearest in the night sky, with the central curlicued ribbons’ alternating colors unfurling each constellation’s name in this same cryptic color-coded alphabet.

During the week of Frieze LA, at the invitation of Art Production Fund, Hollander has organized a series of performances allowing participants to navigate these choreographic circuits through the sky. Departing from Santa Monica via state-of-the-art ultra-light electric airplanes, the flights offer a view of an ever-changing landscape, with the recent devastation to Los Angeles adding a further perspective on the histories and experiences which shape a city. On the ground of the fair, the active performances will be visible on monitors.

LA-based artist and choreographer, Madeline Hollander, invites visitors to move through the skies of Los Angeles for her latest performance, Day Flight.

In collaboration with Santa Monica Flyers, Hollander has choreographed daily flights from February 20-23, between 10am - 4pm, available to the public. Enter your information below, and you’ll be automatically entered for a chance to experience Day Flight. Registration is open through Thursday February 20, at 7PM PST.

Each flight takes off from Santa Monica Airport and flies north along the coast towards Point Dume, passing over the radically transformed landscapes of Pacific Palisades and Malibu, which were recently affected by the LA wildfires, before returning to the airport and site of Frieze. Day Flight is at once an embodied tour of the interactions of various forms of movement—body, plane, wind, and sky—and a novel means of spatial and temporal reorientation to our precarious environment. From these new vantage points, Day Flight invites a deeply personal reflection on the conditions of living with global climate crises.

Hollander has collaborated closely with a select group of flight instructors from Santa Monica Flyers, Emily Hacker, Danny Grijalva, Sarah Burch, Andrew Zizik, to share this embodied experience. Day Flight features a fleet of Velis Electro planes, the first ever type-certified, electric-powered aircrafts, as well as Sportcruisers, and Cessnas.

How to Enter: Enter for free by submitting your name and information by 7PM PST Thursday February 20th, 2025.

Raffle Details: Participants will be randomly selected and contacted by email to confirm scheduling and final flight details.

Eligibility: This performance is free and open to a public 18 years and older. Participants must be available to participate in person at Santa Monica Airport between February 20 - 23, 2025. By entering, participants agree to abide by all rules and regulations.

An audio-visual installation inside of the Frieze tent presents footage from flights, each carrying an individual participant and flight instructor. The public can also venture to the Velis Electro e-plane, a type-certified electric-powered aircraft, parked outside of the fair at Gate D and experience audio from the SMO air traffic control tower.

On Saturday, January 25, at 2pm, join Kasten for a conversation with Jamillah James Manilow, Senior Curator at the Museum of Contemporary Art Chicago, and Gloria Sutton, Associate professor of Contemporary Art History and New Media at Northeastern University and catalogue contributor for Making Their Mark, as they explore the innovative ways artists have transformed the language of painting and technologies evolve.

This program continues a series of artists’ conversations focused on the thematic threads of the exhibition Making Their Mark: Works from the Shah Garg Collection.

Barbara Kasten in conversation with Jamillah James Manilow and Gloria Sutton

Berkeley Art museum and Pacific Film Archive (BAMPFA)

Saturday, January 25, 2pm

Join the CAS in a one hour online conversation focused on the research and practice of Mexican-German artist Frieda Toranzo Jaeger, whose work has recently been acquired by the National Galleries of Scotland following her receipt of the Valeria Napoleone XX Contemporary Art Society (VN XX CAS) award.

Frieda will be joined by curator Lucy Askew from the National Galleries of Scotland and Valeria Napoleone. Together, they will engage in a dialogue exploring the forms, meanings, and intentions behind Frieda’s work, which draws inspiration from the Mexican muralism tradition to envision a future characterized by queer freedom, ecological harmony, and vibrant communal spaces.

The discussion will be moderated by Dr. Paula Zambrano, Curator of Programmes at the CAS. We look forward to your participation in this conversation.

ARTnews is pleased to announce the ARTnews Awards, a new editorial project honoring excellence in art achievements at US arts institutions. Winners will be announced online on December 4, and celebrated during a cocktail reception that evening in Miami.

Over the course of the past several months, ARTnews convened a world-class jury to determine the best exhibitions that opened in the US during the 2023–24 season (September 1, 2023–August 31, 2024). For its inaugural year, ARTnews will honor museum, gallery, and nonprofit exhibitions in five categories, three for artists and two for group exhibitions.

The categories are Emerging Artist of the Year, Established Artist of the Year, Lifetime Achievement, Best Thematic Museum Show, and Best Gallery Group Show. In selecting these categories, ARTnews celebrates artists at all stages of their careers and the curatorial experimentation happening in museums and galleries.

Fondazione Giuliani is very pleased to present Outside and Inside, the first presentation of the work of American artist Mary Obering (1937-2022) in a European institution. The exhibition is an in-depth exploration of her manifold painting practice, which extended into the study of landscape, the body, cosmology, maths, science and spirituality. Throughout her nearly five-decade career, Obering produced deceptively simple, geometric works, juxtaposing the strategies of Minimalism – basic arrangements, modularity, repetition – with a singular exploration of form and colour. While adhering to the pictorial language of geometric abstraction, she also consistently pushed its possibilities into more complex realms. It was as if the artist was never considering abstraction for abstraction’s sake, but rather investigating what abstraction could hold. Obering pared down the aesthetics of Minimalism, using painting techniques and materials more closely associated with the art of the Italian Renaissance, characterised by a marked painterliness, the layering of sumptuous colour, gold leaf and tempera.

Obering moved to New York in 1971, at the encouragement of Carl Andre. Here she became part of a vanguard community of artists living in the recently converted, former light-industry lofts of Soho, and established close friendships with Andre, but also Donald Judd, Marcia Hafif and Sol LeWitt. This community would remain immensely significant to Obering throughout her lifetime, while she pursued her own fiercely independent path.

France finally has a fair at the Grand Palais again in the form of Art Basel Paris, which made its debut outing at the iconic structure after two editions in a temporary space. As sunlight shone through the building’s glass roof, crowds of people packed into the aisles, braving long lines to get in.

Dealers reported notable sales during the first day, with many gallerists expecting more to follow throughout the week. A few of the 195 exhibiting galleries did opt to bring more conceptually minded work—a rarity for any art fair—and that caused them to stand out among the crowd. Others sought to introduce their artists to a European audience.

As Mary Sabbatino, vice president and partner at Galerie Lelong & Co., told ARTnews on opening day, “The Grand Palais is magical—you’re bathed in light and in art history. [Art Basel Paris] is more historical than Miami and more up-to-the-minute and diverse than Basel. Paris has its own energy and identity.”

Silhouettes in the Undergrowth is a group exhibition that explores the ways in which bodies exists and inhabit territory. Works by six Latin American artists of different generations share the museum galleries, creating sensorial landscapes both within and between the works.

The works are direct references to the artists’ environments and speak to particular places in the diverse region. From the archaeological site of Yagul in Mexico to the Amazon, passing through Panajachel in Guatemala and the archipelago of Guadeloupe in the Caribbean. Through a variety of formats such as installation, performance, video and painting, the gallery is transformed into an immersive space where the construction of the contemporary landscape is explored, as well as its political, historical and affective dimensions.

The title is inspired by relationship of human bodies with the unkept landscape present in many of the artists’ practices, in particular Ana Mendieta’s significant series, Silueta [Silhouette] where the artist’s body is traced out on the ground, making obvious the connection between contemporary human existence, history and nature. As undergrowth impacts the area where it grows, in Silhouettes in the Undergrowth the artists’ practices proliferate and influence their context.

Artists: Minia Biabiany (Guadalupe, 1988), Vivian Caccuri (Brasil, 1986), Ana Mendieta (Cuba, 1948 - EE.UU., 1985), Nohemí Pérez (Colombia, 1962), Vivian Suter (Argentina, 1949), Frieda Toranzo Jaeger (México, 1988).

Frieda Toranzo Jaeger (Bortolami)

This is one of our favorites of this edition of Art Basel Paris. At the stand of the New York gallery Bortolami are two installations signed Frieda Toranzo Jaeger. Great year for the artist, who is also exhibited at the Venice Biennale with a work that mixes many of his interests including cars, embroidery traditions, mural painting (https://www.vogue.fr/dossier/peinture)and Western religious altars and which summon, among others, the famous Greek poet Sappho, the painter Diego Rivera and the artist Juan O'Gorman. Frieda Toranzo Jaeger's signature appears gigantic, in a desire to pastice the traditionally male paternity associated with painting, while claiming this space for a queer female voice.

Born in 1988 in Mexico City, Frieda Toranzo Jaeger has an unusual fascination for machines, and in particular for electric cars, understands the way she sees them - as essentially female objects, inspiring utopian fantasies. This is how his work takes place, between paintings and modular installations: as the way to imagine a desirable future for queer communities, where we would live in harmony with nature. The two installations presented at the Bortolami stand at Art Basel Paris are no exception: there are female nudes that are both painted and woven, where women's bodies are proudly displayed on the colored bodies of pick-up trucks - symbols of hegemonic masculinity. Or how to divert codes gently.

On Saturday, October 5, please join us at the gallery for a panel discussion on Deborah Remington (b.1930, d.2010) with four contributors to the newly released monograph on the artist.

Published by Rizzoli Electa, Deborah Remington is the first publication to examine Remington’s six decades of painting and drawing. Edited by Margaret Mathews Berenson and Nancy Lim, the volume traces Remington’s evolution from her beginnings as an Abstract Expressionist painter in 1950s San Francisco, the influence of her years living in Japan, the iconic hard edge compositions painted at the height of her career in 1970s New York, and her late career return to gestural painting.

The book features over 120 illustrated plates, a narrative chronology, and essays by Lim, Dunham and Hohlios, as well as Suzanne Hudson, Professor of Art History and Fine Arts at the University of Southern California, Los Angeles; Anna Katz, Senior Curator at The Museum of Contemporary Art, Los Angeles; Paul Schimmel, curator of Deborah Remington’s 1983 survey exhibition, and a remembrance of Remington by the late poet, Kevin Killian.

Margaret Mathews Berenson, Director of the Deborah Remington Charitable Trust for the Visual Arts

Carroll Dunham, artist and writer

Stephanie M. Hohlios, specialist in modern and contemporary art, architecture, and performance in Japan; Assistant Professor of Art History at Flagler College 

Nancy Lim, Associate Curator of Painting and Sculpture, San Francisco Museum of Modern Art

Copies of the book will be available for purchase at the event.

RSVP for the event at: info@bortolamigallery.com

Join us at The Campus on Saturday, October 5th at 2:30 PM for a panel presented in collaboration with the Brooklyn Rail Phong H. Bui will moderate an open conversation with artists Ricci Albenda, Robert Bordo, Francesca DiMattio, Eugene Macki, Virginia Overton, Joan Snyder, and Cheyney Thompson alongside curators Timo Kappeller and Jesse Willenbring.

Food and drinks provided by 2oBlocks. Kite flying and refreshments to follow.

Live streaming of this event will be available though an RSVP link. A recording will be available on The Campus website following the discussion.

Admission is free at the UMFA starting at 5 pm on this day.

The Holt/Smithson Foundation Annual Lecture Series is a ten-year program inviting artists, writers, and thinkers to raise questions and present research extending the creative legacies of the artists Nancy Holt and Robert Smithson. Over the course of a decade, the Foundation partners with a different institution each year to host lectures in ten distinct locations, each significant to Holt and Smithson.

Artist Renée Green is the invited speaker for the third Holt/Smithson Foundation Annual Lecture, which will take place at the Utah Museum of Fine Arts, Salt Lake City on Friday, September 27, 2024 at 6 pm. Green will present a talk titled Imagining Contact: Then, When, Now, Here, and will be in conversation with Lisa Le Feuvre, Executive Director of Holt/Smithson Foundation.

Renée Green’s expansive installation Partially Buried in Three Parts (1996-1997) began with a reflection on the artist Robert Smithson’s Partially Buried Woodshed (1970), a work primarily known as a photograph and believed to no longer exist. Consisting of Partially Buried (1996), Übertragen/Transfer (1997), and Partially Buried Continued (1997), Green’s multimedia installation grew out of a consid­eration of the year 1970 and the associations became denser in the process of working, becoming a formal and conceptual archaeological endeavor reflecting on the vagaries of memory and historical recall.

In considering Holt and Smithson in the present, Green reflects: “As I read, I continue to wonder about that distant time, then, when things happened differently. The traces I find in books stimulate curiosity to further wonder about the places referenced in images, a wish to see what is here, or there, now; I am curious too about what cannot be seen in the images. Questions of both space and place arise. Questions of time also arise. Questions of travel, questions of the environment, built and unbuilt, emerge too as I think and feel, now, here. On earth.”

Renée Green marks the multidisciplinary artist’s first major solo museum presentation in New York. Since the late 1980s, Green has produced densely layered and knowledge-based installations that return to and adapt strategies of Conceptual art from the 1960s and ’70s. In her uniquely recursive process, Green juxtaposes a range of materials—archival, documentary, and literary fragments, personal and found ephemera, speculative narratives, and her own extant work—to probe the unstable boundaries between fact and fiction, public recollection and personal memory.

Constellating historical, reconfigured, and newly commissioned work in the nexus of Dia Beacon’s floor plan—the two expansive, parallel central corridor galleries, and its adjacent perpendicular corridor—this chronologically defiant presentation aptly stages the artist’s practice in contact and context with influential figures of Minimal and Conceptual art key to Dia’s history and Green’s formation. Foundational early multimedia installations that critically reconsider art historical genres of site, landscape, and Land art will return to view in the United States for the first time in over three decades. Reunited in its entirety at Dia, Green’s Color series from the early 1990s examines how color functions as a tool for categorization, an arbitrary and socially coded value system, as well as an efficacious perceptual and spatial device for the artist’s poetic imaginings. Extending this chromatic engagement both on the wall and the ceiling, Green will suspend a new series of vibrant, text-based fabric banners, or Space Poems, along the corridors’ linear expanse, complemented by a new body of wall-mounted variations in enamel. Similarly, new hybrid configurations of the artist’s multicolored, modular geometric units for viewing and listening will be distributed throughout the galleries, functioning as provisional media architectures featuring selections from Green’s compendium of moving-image and sound works.

Renée Green is curated by Jordan Carter, curator and co–department head, with Ella den Elzen, curatorial assistant.

All exhibitions at Dia are made possible by the Economou Exhibition Fund.

auroras is honored to announce the first exhibition in Brazil by the renowned artist, filmmaker, and writer Renée Green (Cleveland, 1959). Green’s international practice deploying a range of media–painting, sculptures, installations, film, video, sound-related works, Space Poems, architectural arrangements and other forms–spans four decades, reflecting the effects of a
changing transcultural sphere and what can now be made and thought.

After a site visit in early 2024, Green has mindfully selected for this exhibition three bodies of work from different decades that resonate with auroras’ modernist architecture, as well as with the artist’s ongoing poetic, historical, and personal relation to Brazil.

Mishkin Gallery is pleased to present a series of 15 paintings by Anna Ostoya, on view from September 13 through December 13, 2024. The paintings on display are derived from sketches that Ostoya made upon her arrival in New York City in 2008 of fellow passengers on the J, M, and Z lines along her commute between Brooklyn and Manhattan. In vivid colors and kaleidoscopic compositions, Ostoya creates images that are at once intimate and removed, representational and surreal. These multifaceted images of individuals, all of whom occupy the shared public space of the subway, contend with fundamental political dimensions of identity and democracy. For this series, Ostoya remasters, in oil on canvas, a set of digital collages she produced for a book with political philosopher Chantal Mouffe. Throughout her career, Ostoyahas often translated between media, integrating found texts and images (as well as images from her own archive of works) and collaborating with writers and thinkers. Following this, the exhibition is accompanied by a booklet designed by Olya Domoradova with newly commissioned texts by several artists, musicians, and poets, including Moyra Davey, Mónica de la Torre, Lamin Fofana, Angie Keefer and Mark von Schlegell.

Anna Ostoya: J M Z is co-curated by Mishkin Gallery’s Alaina Claire Feldman and Alexandra Tell. The exhibition is made possible by Friends of the Mishkin Gallery and the Weissman School of Arts and Sciences at Baruch College (CUNY).

Conflictual borders, anti-migration walls, confinement, social distance, segregation policies—these seemingly dissimilar topics share a common point: space and its political organization. The main effect of climate change is the apparition of a new world map in which carbon dioxide and urban life, desertification and migration, deforestation and social struggles, destruction of animal ecosystems and vegetal invasions, have become brutally interconnected.

PANSORI: A Soundscape of the 21st Century is an operatic exhibition about the space we live in. But as any landscape is also a soundscape, this exhibition is built as a narrative connecting musical and visual forms. Having emerged in 17th century Korea, pansori is a musical genre deeply rooted in its native land. In Korean,pansori literally means "the noise from the public place," which could also be understood as the voice of the subalterns. The 15th Gwangju Biennale intends to recreate the original spirit of pansori, with artists that try to re-think the space shared between humans, machines, animals, spirits, and organic life— our relational space.

Opening:
Saturday, June 29, 2 — 5:30 pm
featuring DJ Matthew Higgs

The Campus
341 NY-217 Hudson, NY 12534

Bortolami, James Cohan, kaufmann repetto, Anton Kern, Andrew Kreps, and kurimanzutto are pleased to present the inaugural exhibition at their new shared space, The Campus, in Claverack, NY. Embracing a collaborative model, the galleries have turned an abandoned former school building into a platform for dynamic cultural exchange. Please join us this Saturday, June 29th at 2 PM for an opening celebration.

Organized by Timo Kappeller, the inaugural exhibition will run through October 27, 2024, and connects new, historical, and site-specific works by over 80 artists:

Ricci Albenda, Leonor Antunes, Adrian Armstrong, Nairy Baghramian, Robert Bordo, Andrea Bowers, Cecily Brown, Daniel Buren, Tom Burr, David Byrd, Miguel Calderón, BrianCalvin, Gianni Caravaggio, Talia Chetrit, Anne Collier, Alexandria Couch, Abraham Cruzvillegas, Jim Denomie, Francesca DiMattio, Thea Djordjadze, Nathalie du Pasquier, Shannon Ebner, Kevin Jerome Everson, Roe Ethridge, Bendt Eyckermans, Spencer Finch, William Forsythe, Lloyd Foster, Aaron Fowler, Roberto Gil de Montes, John Giorno, Renée Green, Petrit Halilaj, Anthea Hamilton, Trenton Doyle Hancock, Rachel Harrison, Eric Hart Jr., Maren Hassinger, Madeline Hollander, Jenny Holzer, Fidelis Joseph, Sanya Kantarovsky, Barbara Kasten, Annette Kelm, Caitlin Keogh, Jutta Koether, Ella Kruglyanskaya, Gabriel Kuri, Roy Lichtenstein, Richard Long, Eugene Macki, Goshka Macuga, Chris Martin, Josiah McElheny, Marta Minujín, Dianna Molzan, Rebecca Morris, Lee Mullican, Oscar Murillo, Eamon Ore-Giron, Gabriel Orozco, Virginia Overton, Philip Pearlstein, Manfred Pernice, Jamaal Peterman, Alex Puz, Marina Rheingantz, Bárbara Sánchez-Kane, Raymond Saunders, Shinichi Sawada, Lara Schnitger, Paul Mpagi Sepuya, Yinka Shonibare CBE, David Shrigley, Diane Simpson, Michael E. Smith, Joan Snyder, Cheyney Thompson, Rirkrit Tiravanija, Fred Tomaselli, Alice Trumbull-Mason, Daniel Turner, Lily van der Stokker, Erika Verzutti, Bill Viola, Pae White, Beatrice Wood, Haegue Yang & XU ZHEN®.

Hours: Saturday and Sunday, 12 - 5 PM.

At The Campus, pairings of works by over 80 artists yield unexpected dialogues in classrooms, hallways, a gym, and even a science lab.

CLAVERACK, New York — It is no secret that the art world can be a lonely place. There is something distinctly isolating about competing with your peers for one of the few, underpaid curatorial positions or a spot in a coveted residency, or silently begrudging the sold-out booth next to yours at an art fair. Just a few miles southeast of Hudson, The Campus, an abandoned high school-turned-art exhibition space shared by six New York City galleries, proposes something of a salve: a project centered on camaraderie, with shared profits to boot.

Several hundred people — over 2,500, by some estimates — poured into the 78,000-square-foot building this past Saturday, June 29, for an overcast opening event marking the first and untitled show, curated by Timo Kappeller. Continuing the spirit of cooperation, a section of the space was given over to NXTHVN, the Connecticut nonprofit founded by artists Titus Kaphar, Jason Price, and Jonathan Brand, to display works by seven of its Studio Fellows selected by Curatorial Fellows Marquita Flowers and Clare Patrick.

School may be out for summer, but art class is in full swing at The Campus, upstate New York’s new cultural haven. Situated just outside of Hudson in a school left vacant since the 1990s, the project represents an unprecedented collaboration between six New York galleries: Bortolami, James Cohan, Kaufmann Repetto, Anton Kern, Andrew Kreps, and Kurimanzutto. On June 29, over 2,000 people celebrated the opening of The Campus’s inaugural exhibition, organized by independent curator Timo Kappeller, which is on view through October 27. Yet with 78,000 square feet of exhibition space, there was still plenty of room for the works of 80-plus artists—including Cecily Brown, Yinka Shonibare, and Jenny Holzer—to breathe.

Kreps discovered that the old school, built in 1951, was available nearly three years ago, as the COVID pandemic was sending creatives upstate in droves. Charmed by its mid-century bones and nostalgic setting, he and his fellow gallerists banded together to acquire it, recognizing a ripe opportunity.

“The collegial spirit that is alive between the Tribeca galleries spurred us to believe in a project like The Campus,” says Stefania Bortolami, adding that the participating entities are “always in dialogue.” The Italian-born dealer’s gallery, as well as Andrew Kreps and Kaufmann Repetto, already share a space, 55 Walker, and regularly present exhibitions together. “This shared social fabric made it so that when the opportunity arose to acquire a defunct school, we already had the tools to move forward in collaboration.”

Untitled (reverse virgule), a permanent installation by Virginia Overton, is now on display in the lobby of The Refinery at Domino in Brooklyn, New York.

For the commission, Overton has transformed the historic Domino Sugar factory sign into an 11-foot by 36-foot wall sculpture. On the project, Overton remarked, ‘Reusing existing materials as a way to extend the life of objects is integral to my practice. It was a privilege to be able to work with a piece of history from America’s industrial heyday and reimagine this historic artifact as a sculpture that honors the sign’s storied past while embracing its possibilities for the future’.

New work by Overton also created using resourced material from the factory will be on view in her forthcoming solo exhibition opening this June at Bortolami.

The Campus is a collaborative space by Bortolami, James Cohan, kaufmann repetto, Anton Kern, Andrew Kreps, & kurimanzutto.

The exhibition is organized by Timo Kappeller

De La Warr Pavilion is pleased to host the first institutional solo exhibition in the UK of artist Barbara Kasten, presenting a major new site-specific commission in our Ground floor gallery this summer.

Since the 1970s, Kasten (b. 1936, United States) has been constructing expansive installations made of architectural ‘props’ such as glass, mirrors, metal, or wood constructions in front of the camera for her abstract ‘photographs’. Space as a stage of a changing reality is the central motif of her photographs, film, and sculptural installations, which she produces in an ‘interdisciplinary performance’ between photography, sculpture, architecture, and painting. These theatrical arrangements are notable for their use of colour, light and shadow, an approach going back to Kasten’s roots as a painter and sculptor.

During her sojourn in Germany in the 1960s, Kasten observed an affinity between her painting and a new sculptural medium, fibre, being exhibited at the time. She returned to the US to pursue a graduate degree at California College of Arts and Crafts with Bauhaus disciple, Trude Guermonprez. Experimentation and modernism’s notions of space, stage, and architecture became the core of her practice since. While living in Los Angeles in the early 1970s, the ‘Light and Space Movement’ had an influence on her subsequent work. Through her cross-genre practice and continued use of analogue photographic materials, Kasten’s visionary practice has influenced a new generation of contemporary artists amidst the prevalence of digital imagery, Photoshop and 3D rendering today.

At DLWP, Kasten has responded to the distinctive architectural features of our Grade I listed modernist building and the unique setting of the Ground floor gallery, which looks directly out to the English Channel. Furthering her interest in the mechanisms and structures of how images are created, she has reconceived the gallery’s windows as a proscenium: a threshold between inside and outside space. Leant up against the glass will be a series of coloured, acrylic beams, the forms of which echo the internal and external columns that support the Pavilion’s rectilinear geometries. Installed throughout the gallery – ‘backstage’ behind the proscenium – will be a series of stage flats constructed out of metal and mirror. Kasten imagines these as ‘movie screens’ that provide a cinematic experience for visitors across the site through reflection and warping. Combined with stage lighting, these screens create a choreography of colour, light, and shadow throughout the space as its atmosphere changes with the weather outside.

Presented in the context of this new commission is Kasten seminal Architectural Sites series (1986-89). Made on location with a single exposure and no digital intervention, this body of work restages the architectural sites of several museums and institutions through bold colours and kaleidoscopic perspectives. As reconfigurations of architectural forms shifting from two to three dimensions, this photographic series speaks to Kasten’s transformation of the gallery this summer, as she invites visitors to enter her theatrical construction and move through modernist form in real time.

Christine Safa (b. 1994 in Chesnay, France) paints life in motion, rendering sites traversed as a series metaphysical notations felt and collected by the body. The French-Lebanese artist frequently moves across the Mediterranean, between her home and studio outside of Paris and her family’s native city of Beirut. She captures the landscapes she passes through by distilling them into interconnected fragments, melding the intimacy of the land and the body, so that shoulders become mountains, or the horizon blends with her subject’s profile. In Safa’s words:

I see my paintings as tributes, fragments of memories, that which remains. That’s what I paint, what’s left. As I paint, I give birth to the silhouette, the shape of the ruins of memories which both greet and are the victims of time; which for me means my experience of these interior landscapes.

The tactile dimension that connects people and places, recalled with wistful longing, is achieved via her singular painting application and vivid colors. Her vibrant palette of pure pigments blended with oil are applied over a plaster-like mixture of marble dust and rabbit skin glue, simultaneously absorbing the paint’s sheen and bestowing her surfaces with weight and texture. These 15th-century Italian techniques allow the artist to reveal and obfuscate layered images, a process akin to the always flittering dimension of time remembered.

Safa received a master’s from the Ecole National Supérieure des Beaux-Arts, in 2018, where she honed her distinctive painting style. Two years later, she was invited to participate in Horizons at Lévy-Gorvy, an exhibition curated by Etel Adnan, a fellow French-Lebanese artist and poet. The exhibition included the likes of Simone Fattal, Adnan’s life partner, Ugo Rondinone, Joan Mitchell, and Agnes Martin, a cadre of artists who have continuously added to and questioned the record of time.

Following this introduction to her paintings, Safa has continued to pursue these key subjects, already presenting two solo museum exhibitions in Europe. At FRAC Auvergne in 2023, her exhibition De chair et de pierre (Of flesh and stone), brought together a selection of new paintings whose enlarged scale saw swathes of cerulean blues and softened teals congeal into night and seascapes. At ICA Milano in 2022 she presented Ce’ra l’acqua, ed io da sola (There was water, and me alone), her first presentation in Italy, connecting her paintings with her consistent references to Italy’s frescoes.

Last week, Safa won the Jean-François Prat Prize, where her work was presented to a jury by Jean-Marie Gallais, the curator of the Pinault Collection. Her paintings are on display at 53 Quay d’Orsay in France as part of the award. The same week, her first solo show in New York, at Bortolami Gallery, closed.

We welcome Safa to Bortolami’s program.

Join CARA on Thursday, May 9 for the launch of CARA's newest publication Aki Sasamoto: Point Reflection, co-published with Queens Museum. The launch will feature a conversation with artist Aki Sasamoto and contributors to the book Lumi Tan and Hitomi Iwasaki.

The first major volume devoted to the artist's work, Point Reflection combines the diagrammatic drawings, narrative experimentation, structured improvisations, and stream of consciousness monologues characteristic of Sasamoto’s performances and installations, with a critical essay by Lumi Tan, interviews conducted by the artist with biologists Erynn Johnson and Masaki Hoso, and an afterword by Queens Museum curator, Hitomi Iwasaki.

In a spirit of cooperation, six midsize art galleries are extending their reach beyond Manhattan with the purchase of a sprawling abandoned school in Columbia County, N.Y., that will be inaugurated as a new exhibition platform called the Campus on June 29.

The galleries Bortolami, James Cohan, Kaufmann Repetto, Anton Kern, Andrew Kreps and Kurimanzutto pooled their resources to buy the low-slung 78,000-square-foot Ockawamick School and its surrounding 22 acres in Claverack.

Join Rebecca Morris at ICA LA for a launch party for her new catalogue Rebecca Morris: 2001-2022.

Copies of all catalogue will be available for purchase.

The 60th International Art Exhibition, titled Stranieri Ovunque – Foreigners Everywhere, will open to the public from Saturday April 20 to Sunday November 24, 2024, at the Giardini and the Arsenale; it will be curated by Adriano Pedrosa and organised by La Biennale di Venezia. The pre-opening will take place on April 17, 18 and 19; the awards ceremony and inauguration will be held on 20 April 2024.

Since 2021, La Biennale di Venezia launched a plan to reconsider all of its activities in light of recognized and consolidated principles of environmental sustainability. For the year 2024, the goal is to extend the achievement of “carbon neutrality” certification, which was obtained in 2023 for La Biennale’s scheduled activities: the 80th Venice International Film Festival, the Theatre, Music and Dance Festivals and, in particular, the 18th International Architecture Exhibition which was the first major Exhibition in this discipline to test in the field a tangible process for achieving carbon neutrality – while furthermore itself reflecting upon the themes of decolonisation and decarbonisation.

Toranzo Jaeger’s work uses pre-Columbian Mexican embroidery techniques to disrupt familiar motifs of well-known western artworks as a way of proposing an existence outside of structural systems of control. Using recurring imagery of queer love making, lush tropical greenery and brightly coloured flora, intermixed with symbols of corporate power – the car, the engine, and the spacecraft – she invites us to think critically about the potential for an alternative future beyond colonialism and hyper capitalism.

This exhibition is the first UK solo institutional presentation of new and recent works by the Mexico City-based artist.

Each performance will loop continuously; visitors are invited to come and go as they please. This event is free and open to the public. No registration or RSVP is required.

Crowner’s site-specific piece, Platform (Stretched Pentagons), makes use of a distinct shape known as the 15th monohedral convex pentagonal type, so named because its unique combination of side lengths and angles make it one of fifteen variations of the pentagon shape that can be arranged to tile a flat plane. Inspired by these tessellated forms, Hollander reads the tile arrangement as a notational script to create choreographed patterns that unfold in quintuple time. The piece, Pentagon Dance, composed of 5 dancers, will use intricate footwork to present the geometric rules guiding this pentagonal shape that will continue to resonate up through the dancer’ torsos, limbs and hands.

Dancers: Eloise Deluca, Marielis Garcia, Miguel Angel Guzman, Lauren Newman, Vinicius Silva

Initially trained as a ballet dancer, Madeline Hollander (b. 1986, Los Angeles) studied cultural anthropology and visual arts at Barnard College (BA) and Bard College (MFA), New York. Solo exhibitions of her work have been mounted at the Whitney Museum of American Art (2021); the University of Texas at Austin, Visual Arts Center (2020); Bortolami Gallery, New York (2020); The Artist’s Institute, New York (2018). Her work has been exhibited at The Metropolitan Museum of Art, New York, (2023); Brandhorst Museum, Munich, Germany (2022); Performa Biennial, New York (2021); The Aldrich Museum, Connecticut (2020); the Whitney Biennial curated by Rujeko Hockley and Jane Panetta (2019), Helsinki Contemporary, Finland (2019), the Work Marathon Festival at the Serpentine Galleries in London (2018), and Centre Pompidou Metz, France (2019). As a choreographer, Hollander’s pieces have been performed at the Joyce, New York; The Théâtre des Champs-Elysées, Paris, and Louvre Abu Dhabi with the Los Angeles Dance Project, and she has collaborated with Jordan Peele on his feature film Us (2019) and Urs Fisher’s immersive installation PLAY at Gagosian, New York (2019) and Jeffrey Deitch, Los Angeles, CA (2019).

Portrait of Hollander by Sasha Arutyunova.

In Spring 2024, Nottingham Contemporary will present a major monographic exhibition by the Los Angeles-based artist, Paul Mpagi Sepuya (b.1982, United States). The exhibition will be the first institutional presentation of Sepuya’s work in the UK, bringing together more than 40 works across almost 400 square metres of gallery space.

Sepuya is best known for his intimate studio portraits that explore the relationships between camera, subject and viewer. His photographs are not only images of desire, but also images about the making of images. The people present throughout his photographs are friends, lovers and members of the artist’s queer and creative communities. Sepuya himself is often present in his work, glimpses of his body appearing in reflections or from outside the frame. Generally, these glimpses intentionally highlight him as the maker of the images, positioning the camera or releasing the shutter. The recurring use of mirrors is both practical and symbolic, both as a tool to hold and layer fragments of images, and as a means to deny the direct gaze of the viewer’s eye.

This exhibition of digital and new media artworks from the Carl & Marilynn Thoma Foundation features artists’ pioneering approaches to artificial intelligence, machine learning, real-time software, custom algorithms, and virtual environments and how these reflect our interaction with the natural environment.

Artists include, Gary Hill, Madeline Hollander, Leo Villareal, Saya Woolfalk, Carla Gannis and several others.

This exhibition is organized by the Carl & Marilynn Thoma Foundation.

To open one’s eyes to the world is to bear witness. Lee Miller was initially a fashion model who first graced the cover of Vogue in 1927 and represented the new “modern look” for women during a relatively liberal period of economic prosperity in the United States. In the following years, she became both a muse and collaborator to the American and European Surrealist avant-garde, as well as an underrecognized collaborator and producer of their work, all while developing her own oeuvre. After a difficult break up, Man Ray used an image of her eye in his piece Object of Destruction (1932), a metronome readymade that opened itself to violence should the ticking sound become too overbearing.

The turbulence of WWII opened Miller’s eyes to the political turmoil of the greater world around her, inspiring her to pick up a camera and bear witness as a war photographer for numerous publications and the United States army. Miller’s eye, now channeled through the work of Anna Ostoya, is appropriated not as nostalgic reflection on the past, but as a catalyst for a feminist recuperation of the future. Here, her gaze is employed to parse the past within the long durée of sexism, modernity, and “genius” in the West.

At Rubin & Chapelle’s New York flagship store, Lee once again inhabits the world of fashion. However, now she gazes out towards the Marcel Breuer building on Madison Avenue, a stark modernist and brutalist contrast to the sparkling boutiques of the Upper East Side, and a nod to her experimental legacy. This exhibition features four works by Ostoya in heterogenous media which radiate out from the gaze of Miller’s blinking eye: an animation, a photomontage, a print, and a mixed-media painting. Ostoya’s painting Lee (2023) derives from her photomontage featured on the cover of her 2021 book with political theorist Chantal Mouffe, Politics & Passions, in which the two discuss agonism (a political and social theory that emphasizes the potentially positive aspects of certain forms of conflict) and the political possibilities of art under neoliberalism. Lee is an abstract portrait from a series of subway sketches of New Yorkers interwoven among reproductions of the artist’s past works. Clues to identify the individual in the foreground are purposefully withheld, opening different possible perspectives and positionalities. This allows one to view the portrait as anti-essentialist or deterministic given the multiplicity of possible subjectivities. The central portrait stands in stark contrast to the figures in the background of the painting, photographic reproductions of stuffy suits, kingmakers of the avant-garde and Miller’s peers including Man Ray, Jean Arp, and Max Ernst. This background is seen again in the photomontage The Tradition of Intensity and Force (2011), whereas Miller’s eye is seen again in the animation Lee in Motion (2022) and small print Indestructible Lee (2023).

Ostoya often returns to her past works and challenges the linear structure of history through appropriation in order to develop a kind of anti-modern newness. She repositions the avant-garde past as something rooted in social materiality, such as the eye of Lee Miller as both an object of violence and a subject bearing witness, thereby moving away from pastiche and complicating a singular or master genealogy. While we are all informed by history and our past, this should not foreclose the progressive possibilities of our future.

***

Born in Krakow in 1978, Anna Ostoya has lived in New York since 2008. Her work spans multiple aesthetic traditions and includes painting, collage, photomontage; at times text and objects. She is mostly known for her geometrically fractured paintings, textured collages and photomontages of look-alike found images.

Ostoya attended the Whitney Independent Study Program in New York, the Städelschule in Frankfurt/M and the Parsons School of Art and Design in Paris. Her book collaborations include Polish Rider (MACK 2018) with Ben Lerner and Politics and Passions (MACK, 2021) with Chantal Mouffe. Her work has been shown, among others, at Kunsthaus Baselland (2019), Zacheta National Gallery, Warsaw (2017, solo), Tate St. Ives (2015), Lyon Biennial (2015), La Kunsthalle Mulhouse (2013, solo), Museum of Modern Art in New York(2013), CCS Kronika, Bytom (2010, solo), The Power Plant Toronto (2011), Lisson Gallery in London (2009) and Manifesta 7 Rovereto (2008). It is part of collections including the Museum of Modern Art in New York, Defares Collection, Dutch National Bank Collection, RISD Museum Collection, Gaby and Wilhelm Schürmann Foundation, De la Cruz Collection, Zacheta National Gallery and European Central Bank.

Partners Sonja Rubin and Kip Chapelle co-founded Rubin & Chapelle in 1997 and were among the first designers to establish retail presence in New York’s then burgeoning Meatpacking arts district in 2002. The designers have both been inducted into the Council of Fashion Designers of America and have received several awards and nominations from institutions including Fashion Group International, The Smithsonian, A Senatorial Citation, and the City of Vienna, Austria. Their collections have been exhibited in the MAK Museum in Vienna, Museum of Arts and Design in NYC, and The Museum of the Fashion Institute of Technology (FIT). Their garments can be found in the collections of the Chicago Arts Institute and the Museum FIT.

Rubin & Chapelle’s collaborations with living artists, R&C Projects, have been central to their creative ethos. In addition to staging exhibitions in their showroom and boutiques, R&C Projects invites artists to develop patterns and textile prints ad hoc. Artists who have been collaborators include Gregory Coates, Helga Davis, Berta Fischer, Mia Enell, Angelo Flaccavento, Axel Koschier, Edmundo de Marchena, Joseph Montgomery, Marcel Odenbach, Kottie Paloma, Hermes Payrhuber, Steven Rose, Aura Rosenberg, Semjon H.N. Semjon, Wolfgang Stiller, Kara Walker, Atalay Yavuz and more.

Opening hours: October 18 to 22, 2023, from 10am to 7pm; October 23 to 31, 2023, from 11am to 7pm

The 2023 exhibition in the museum spaces of the Palais d’Iéna brings together two artists who have had exceptional careers: Michelangelo Pistoletto (Biella, Italy, 1933) and Daniel Buren (Boulogne-Billancourt, France, 1938). Since the early 1960s, their work has been exhibited in major museums, institutions, and galleries around the world. The project, commissioned by the art historian Matthieu Poirier and supported by Galleria Continua, will be revealed at the public opening on October 17. An unprecedented dialog between the two artists, the exhibition will respond to the unique architecture of the Palais d’Iéna, designed by Auguste Perret in 1937. The art will play with the building’s angles, its large-scale spaces, the subtle polychrome of its exposed concrete, its exceptional luminosity, its urban surroundings, the interplay of perspectives and levels, and its complex symmetry. The historical themes brought into focus by the two artists seem to lent themselves to their work.

Students from the École du Louvre are available every day from October 18 to October 22, from 2pm to 5.30pm, to provide visitors with information.

parrasch heijnen is pleased to present Keith Sonnier: Live in Your Head, a scholarly view of Sonnier’s oeuvre and his wide-ranging impact on generations of artists. This exhibition includes work by: Keith Sonnier, Mary Heilmann, Madeline Hollander, Ann Veronica Janssens, Terence Koh, Nabilah Nordin, Jessica Stockholder, Maya Stovall, and Kennedy Yanko.

Keith Sonnier: Live in Your Head presents a multigenerational selection of artists whose culturally and aesthetically diverse work is in dialogue with Sonnier’s pioneering vision. By rejecting boundaries and embracing unconventional materials and modes of visual expression, these select artists embody attitude as form. This exhibition builds upon Sonnier’s spirited embrace of creation and celebrates the evolution of his impact on contemporary art. 

Rebecca Morris: 2001–2022 presents a 21-year survey of painter Rebecca Morris (b. 1969, Honolulu, HI; lives in Los Angeles, CA), an artist best known for her large-scale paintings and inventive approach to composition, color, and gesture. One of the most formidable painters working today, Morris’s practice demonstrates a rigorous commitment to experimentation and abstraction. This exhibition, which originated at the Institute of Contemporary Art, Los Angeles, marks the artist’s first major museum survey since 2005. This survey show will coincide with the release of the artist’s first major monograph, edited by the exhibition’s curator, Jamillah James.

Kinship: Photography and Connection features six contemporary photographers who share a special affinity with their subjects. Relationships are fundamental to each artist’s practice, whether they are familial, platonic, romantic, cultural, or geographic in nature. In each case, the deep connection between the artist and their subject is elemental to the power of the resulting photographs.

For over twenty years, Alessandra Sanguinetti has photographed two cousins living in rural Argentina, exploring their relationship to each other and to the place where they live. In her series What She Said, Deanna Templeton pairs excerpts from her teenage diaries with photographs of young women whose grit and resilience she admires. Paul Mpagi Sepuya makes photographs of himself and his friends, exploring the construction of queer spaces and turning traditional modes of portraiture on its head. In his project Please Take off Your Shoes, Jarod Lew photographs other second generation Asian Americans navigating the gap between their own experience and those of their immigrant parents. The bonds shared between animals and humans figure prominently in the photographs Farah Al Qasimi has made in the United Arab Emirates, where she grew up. Unlike the other artists, Mercedes Dorame does not depict people; in her work included in the exhibition, her kinship connection is to her Gabrielino-Tongva ancestors and the land on which they lived.

Bortolami is thrilled to announce the New York launch of Barbara Kasten’s most recent monograph, Barbara Kasten: Architecture & Film (2015–2020) at 6 pm on Thursday, April 27 on the third floor at Bortolami.

The event will feature a conversation between the artist and author Stephanie Cristello, facilitated by writer Taylor Dafoe. The conversation will be followed by a book signing and reception.

Barbara Kasten (b. 1936 in Chicago, Illinois) lives and works in Chicago. She received her BFA from the University of Arizona in 1959 and MFA from the California College of Arts and Crafts in 1970. Kasten’s practice centers around an exploration of the nature of perception and materiality. Her photographic output using both studio and natural lighting has been essential to the last decade of multi-disciplinary work in sculpture, video, installation, and public art. These works continue to examine an object’s presence within both illusionistic and real space. Forms--designated by shadow, color, and the space between objects--oscillate between representation and abstraction. Her work has been exhibited across the United States and Europe. Most recently, Kasten was the subject of a solo exhibition at the Kunstmuseum Wolfsburg, Germany, which traveled to Sammlung Goetz, Germany, and is open through April 2023.

Stephanie Cristello (b. 1991, Canada) is a contemporary art critic, curator, and author based in Chicago, IL. Her work focuses on artists who critically engage with the image and its role in visual culture. She graduated from the School of the Art Institute of Chicago in 2013 with a Liberal Arts Thesis in Visual Critical Studies. Cristello was previously the Senior Editor US for ArtSlant (2012–18) and the founding Editor-in-Chief of THE SEEN, Chicago’s International Journal of Contemporary & Modern Art (2013–20). Her writing has been published in ArtReview, BOMB Magazine, Elephant Magazine, Frieze Magazine, Mousse Magazine, OSMOS, and Portable Gray. Cristello served as the Artistic Director of EXPO CHICAGO (2013–2020) and is currently the Director / Curator at Chicago Manual Style (Chicago) and Curator-at-Large at Kasmin (New York).

Taylor Dafoe is a journalist and critic based in Brooklyn and Troy, New York. He works as a Features Writer at Artnet News, and his writing has also appeared in Afterimage, AnOther, BOMB, Cultured, and Interview, among other publications.

The Edith Farnsworth House Historic House is pleased to present the 2023 Artist in Residence exhibition, The Last of Animal Builders curated by Alberto Ortega Trejo and featuring the works of Faysal Altunbozar, Selva Aparicio, ASMA, Daniel Baird, Renée Green, Claudia Hart, Ragnar Kjartansson, Michael Rakowitz, Joshi Radin, and Thiago Rocha Pitta. 

The works in this show, selected from the Thoma Foundation’s collection and several Chicago-based artists, open a dialogue between the artists and our iconic Mies van der Rohe-designed home and surroundings. The show offers new perspectives and critiques on modern architecture, power relations in the built environment, and examines the construction of nature as an intellectual framework. Whether through video, drawing, or sculpture, the works in this exhibition engage animal, vegetal, and mineral metaphors as vehicles to suggest alternative interpretations of human becoming, social transformation, and material exchange. This show both enhances our current staging of the House and provides a fresh lens to view our space and history with a special nod to and commentary on Lord Palumbo’s former sculpture garden on the grounds.

In her installations and performances, Aki Sasamoto uses visual metaphor and absurdist humor to explore life’s biggest questions and most mundane activities, which often converge in the everyday objects she uses. In previous performances, the artist tested her psychological breaking point on a trampoline; worked through hygiene neurosis with the help of a modified washer and dryer; and conveyed her romantic relationships as a line of empty beer bottles falling into a trashcan one by one after a happy hour gone wrong.

Sasamoto’s installation and performance, Squirrel Ways (2022), which premieres in the United States at Arts and Letters, has the semblance of a living room. It is constructed from modular shutters, doors, and mulberry-papered sliding screens. Colorful personal objects are faintly visible through the screens, whose indeterminate design falls somewhere between door, room divider, and wall. A clothesline hangs overhead with a day’s laundry.

In a series of improvised performances, Sasamoto follows the questions this fluid environment raises. At what point does outside become inside? At what time in the cycle does dirty laundry become clean? At what depth does the surface of the ocean begin? The ambiguity of transition, or the “thickness of the border,” as Sasamoto puts it, is something the artist considers with deadpan humor as she transforms the work’s movable barriers into drawing surfaces and peepholes, or discovers the fishing lures, rulers, and sponges squirreled away within its paper compartments.

Sasamoto will perform Squirrel Ways on select Saturday evenings at sunset in March, April, and May.

Performance Dates
Saturday, March 18, 7:06pm (sunset) - reserve tickets

https://www.eventbrite.com/e/aki-sasamoto-squirrel-ways-tickets-551784942617

Saturday, April 8, 7:28pm (sunset) - reserve tickets

https://www.eventbrite.com/e/aki-sasamoto-squirrel-ways-tickets-554686982697

Saturday, May 20, 8:11pm (sunset) - reserve tickets

https://www.eventbrite.com/e/aki-sasamoto-squirrel-ways-tickets-554689771037

Academy Tours
Free guided tours of the American Academy of Arts and Letters, followed by a visit to Aki Sasamoto’s installation Squirrel Ways, are offered throughout the spring - RSVP required

https://www.eventbrite.com/e/guided-tour-of-the-american-academy-of-arts-and-letters-tickets-551827850957

Wednesday, March 29, 10am
Friday, April 14, 4pm
Wednesday, April 19, 4pm
Wednesday, May 10, 10am

American Academy of Arts and Letters
633 West 155th Street
New York, NY 10032

A site specific performance, “Devotion” by artist and choreographer Madeline Hollander, featuring 12 dancers from Los Angeles Dance Project and an original score by the composer, Celia Hollander.

12 dancers perform on rooftops, balconies and fountains, creating a dynamic constellation that extends through the Neutra VDL House's architecture. The choreography is guided by Robert Frost’s poem, “Devotion" - the dancers’ bodies articulate each letter of the poem, physically reciting the words from beginning to end.

Saturday, February 18, 4-6pm

Costumes designed by Madeline Hollander and constructed by Rosalida Medina.

RSVP by emailing info@bortolamigallery.com

kaufmann repetto is pleased to present re-materialized: the stuff that matters, a group exhibition curated by astrid welter, spanning across both milan and new york galleries. this dual-presentation features the work of lisa alvarado, maja bajevic, jonathan baldock, leda catunda, christina forrer, jeffrey gibson, françoise grossen, yee i-lann, suzanne jackson, charlotte johannesson, luba krejčí, maria lai, barbara levittoux-świderska, rodney mcmillian, hana miletić, małgorzata mirga tas, rosita and angela missoni, dianna molzan, margherita raso, erin m. riley, lj roberts, and pae white. this project is in relation to an ongoing research program that kaufmann repetto has dedicated to the textile medium. to coincide with the current group show, the new york gallery will also feature a presentation of works by the late italian textile designer renata bonfanti, marking the artist’s first solo exhibition in the united states.

throughout the past decade, textile-based artworks have found a new currency in the artworld. a proliferation of exhibitions dedicated to this long-overlooked medium has generated an intensification of critical theory, reviewing a variety of viewpoints: the role of feminal practitioners and their refusal of outdated, gendered expectations; the bias of craft versus fine art; the relation of textiles to cultural identity, socioeconomic codes, and societal coexistence, amongst countless others. many of these investigations are at the core of the practices of the artists featured in re-materialized: the stuff that matters, presenting a spectrum of textile-based vocabularies.

the specific, tactile sensuousness of textile work fulfills our desire for re-materialized experiences. now stuck somewhere between the physical and the virtual world, we are continuously witnessing the relentless digitalization of humanity, including sensory interactions. the more we realize the consequences of what is in fact dematerialization, the more urgency forms for resistance, together with the desire for a tangible, somatic connection to the world that surrounds us. if taken literally, we may begin to grasp the notion that nothing encompasses us more intimately through our bodily existence than cloth, one of the world’s most ancient cultural materials.

the title of the exhibition pays homage to lucy lippard and seth siegelaub, both pioneering curators and writers who in their early careers contributed to the definition and emergence of conceptual art. “re-materialization” takes a playful twist on lippard’s seminal text, “the dematerialization of art” (1968), an essay that has since become a cornerstone in art criticism and theory. “the stuff that matters” refers to siegelaub’s decades-long bibliographic research on textiles and their social and economic history in the world, which eventually led to the activities of his stichting egress foundation. despite their different trajectories, both scholars and their ideologies have been central to contemporary art discourse, defying “the sacrosanct ivory walls and heroic, patriarchal mythologies” (lippard, 1973). with the newly gained prevalence for textile art and the boundless examination of these handcrafted works as powerful carriers of a political and societal materiality, lippard’s and siegelaub’s legacy continues.

In celebration of Lena Henke’s comic book, I Don't Love Berlin, Crazy City, Bortolami will be hosting a book launch in The Upstairs on December 8th from 6:30-8:30pm. The book launch will include a lecture by Henke detailing the research behind the publication.

At once a comic book, image atlas, photographic archive, and anti-guidebook to Berlin, I Don't Love Berlin, Crazy City, imagines the present and future of the the city's Hansaviertel district, taking seriously its postwar moniker as “the city of tomorrow” [“die Stadt von Morgen”].

For the past decade, Lena Henke has produced a body of work that explores her personal and bodily relation to the architecture and urban design of the cities she inhabits. Her new set of sculptures, which appear in the publication as animated comic book characters, excavate the local histories, kitchens and household artefacts of the Hansaviertel, while spewing wisdom on gender, technology, and urban space from an eclectic group of cultural references ranging from Max Frisch and Klaus Theweleit to Donna Haraway, Paul B. Preciado, Leslie Kern and others.

The publication was published on the occasion of the exhibition Lena Henke: Auf dem Asphalt botanisieren gehen at Klosterfelde Edition in Berlin, April 30 - June 30, 2022

Distributed by Koenig books

The collection show Changes focuses on recent acquisitions to the mumok collection, with works by Leidy Churchman, János Fájo, Philipp Fleischmann, Birke Gorm, Jojo Gronostay, Frida Orupabo, and Emily Wardill, and other works from the collection that have not yet been shown at mumok, and confronts these with older holdings which can thus be seen afresh.

The exhibition title Changes refers to a work by Sam Gilliam (1933–2022), who recently passed away. He identified the key to his artistic practice in “a sense of the importance of process, of change, of the importance of difference itself, a freedom to take command and work from one’s own ideas.” The title of his work Change (1970), which is in the mumok collection, refers to the fact that Gilliam’s “drape paintings,” of which this work is an example, are hung without frames from the ceiling and can look very different depending on the nature of the space where they are shown.

For FRONT 2022, Cleveland-born artist Renée Green has conceived Contact, her first major exhibition in the city, which occupies all of moCa Cleveland’s public spaces and radiates out into the city with workshops and film screenings.

A contrapuntal exhibition, Contact weaves together Green’s own works–some newly commissioned by FRONT 2022­–with a vast array of invited participants with whom she’s been in conversation through the years.

Marina Rheingantz’s paintings and embroidery are nourished by the recollection of Brazilian landscapes, memories of the compactness of the earth, of light and its variations, of the atmospheric nebula of twilight, of the pointillist dissemination of birds in the sky, of the emergence in clusters of flowers and shrubs, of mounds emerged on the surface of the flooded plains… Painting landscapes, today, cannot be envisaged without the awareness of the incongruity and the inactuality of such subject. Painting landscapes cannot depart from the conviction that such a subject – historically exhausted – can still be tackled, especially if one keeps in mind a banality that it is always good to remember, namely that a painting is first of all the story of a look at something: the painting tells how the painter’s gaze landed on his subject before placing it on its support. What we see of Marina Rheingantz’s landscapes are not the landscapes themselves but a singular look at these expanses, the way she sees them with memory, in the leafing of plans and patterns, the aerial dives of expanses without horizon strewn with suspended patterns, agglomerates of light, dust, phosphenes, clouds of microscopic ephemera, spangled with particles of reality frozen in appearance and yet always moving. The gaze is brought to a halt, stopped in its surveying by the resistance of the paint, by the compactness of its surface, by the web of patterns and signs that dot the areas and are superimposed on them like openwork filters.

Texts by Douglas Fogle and Jean-Charles Vergne
French / English, format 30 x 24 cm, 216 pages

Publisher: FRAC Auvergne

Join artist Barbara Kasten, editor Stephanie Cristello (Curator), and author Humberto Moro (Dia Art Foundation) in advance of the book Barbara Kasten: Architecture & Film (2015–2020) publishing in Fall of 2022 with Skira. Assembling a group of leading writers—including Irena Haiduk, Hans Ulrich Obrist, and Mimi Zeiger—the publication features newly commissioned texts that further the discourse into Kasten’s varied practice with a focus on work from the last five years alongside previously unpublished projects from the 1960s to the present.

The online space of this event, designed by Tal Erez and Dan Handel, will explore virtual interiors as well as interim videos inspired by Barbara Kasten’s visual worlds. Presented in partnership with the Terra Foundation for American Art’s program, Art Design Chicago Now, and Skira Editore.

Thu, May 26, 2022

2:00 PM – 3:00 PM EDT

The Museum of Modern Art, New York, has opened a room on its fourth floor featuring 12 striped cotton fabric works by Daniel Buren

In 1965, Buren visited the Marché Saint-Pierre, a textile market in Paris, and purchased rolls of striped canvas reminiscent of awnings you might see outside a café. Taken by the stripes’ minimalism and neutrality, Buren began to use this canvas for his works, painting over the colored stripes at or near the left and right borders of the canvas in white acrylic. He felt that the simplicity of the stripes allows his works to relate to their physical surroundings—and in so doing, they call attention to the social and political dimensions of the contexts in which they’re displayed.

The works will remain on view at MoMA until autumn 2022.

Part of “A Cool Million”, a public arts initiative for climate awareness led by artists and institutions to expand environmental justice programming and support the conservation of one million acres of land.

The Dries Van Noten Little House welcomes its first two-person exhibition, Some People See Time by artists Polly Apfelbaum and Madeline Hollander. In the exhibition, open through September 11, 2021, the artists work in a dialogue one color, movement, texture, and tempo with Hollander’s choreographic drawings, made into a calendar of sorts, and Apfelbaum’s “fallen paintings” of fabric strewn about the floor, shifting every week of the exhibition.

In the exhibition text from Stephen Westfall, he writes, “The synesthete toggles across the border between anguish and reverie. Kandinsky would have to commit himself to bed for days at a time when overcome by synesthesia-induced headaches, but he also envisioned abstract painting when immersed in a yellow cloud during a performance of his friend, Schoenberg’s music. The otherwise uncommunicative, seemingly catatonic subjects of Oliver Sacks’ essay ‘The Twins’ would call out impossibly large prime numbers to each other and rock back and forth in subdued ecstasy, a story which brings me to numbers as vessels of color and flavor. Madeline Hollander and I disagree vehemently over the taste and color of the numeral ‘5,’ for instance, but we both see its aura and taste it.”

White Columns is happy to announce ‘From The Archives: White Columns & 112 Greene Street / 112 Workshop, 1970 – 2021…’ an exhibition that considers the ongoing legacy of New York’s oldest non-profit, alternative art space. Drawn exclusively from the organization‘s archives the exhibition charts the history of White Columns over the past five decades: from its beginnings at 112 Greene Street in SoHo to its current home in the Meatpacking District. White Columns was founded by a group of artists in October 1970 and was originally known as 112 Greene Street / 112 Workshop. The organization was renamed White Columns in 1980 following its move to 325 Spring Street.

The exhibition is structured around a display of archival materials – inc. press releases, posters, flyers, correspondence, mission statements, exhibition schedules, installation images, etc. – that runs through the gallery in the form of a timeline. Three large vitrines contain a selection of printed exhibition announcements from the 1970s, 1980s, 1990s and early 2000s. (The gallery largely stopped producing printed invitations c. 2008.) A further series of smaller vitrines focus on some twenty key projects from the organization’s fifty-year history – including those dedicated to exhibitions by Gordon Matta-Clark (1972), Louise Bourgeois (1974), Lee Quiñones and Fred Bathwaite (1980), Group Material (1987), Cady Noland (1988), and Fred Wilson (1990) among others.

Over the past fifty years – literally – thousands of artists have contributed to and helped to shape 112 Greene Street’s and White Columns’ programs. The exhibition, given the constraints of space, can only be a partial account of all this extraordinary activity. The gallery’s full archives can now be accessed online via our website at www.whitecolumns.org/archive/ (http://www.whitecolumns.org/archive/) – a resource that is constantly being updated and augmented as new archival materials come to light.

Via films, essays and writings, installations, digital media, architecture, sound-related works, film series and events, her work engages with explorations into cir­cuits of relation and exchange over time, the gaps and shifts in what survives in public and private memories, as well as what has been imagined and invented.

At Borås Art Museum, Green presents Space Poem #7 (Color Without Objects: Intra-Active May-Words) (2020), which is composed of twenty-eight double sided banners hanging from the gallery ceiling. Invoking the words of American Swedish poet May Swenson, the work invites viewers into a textual and spatial dialogue with words, color, and form. Space Poem #7 continues Green’s ongoing investigation into transmutation and meaning and its formal and poetical modes of communication.

First published in 1994, Camino Road is artist Renée Green’s debut novel—a short, ruminative work infused with semantic ambiguity and the dreamy poetry of the quotidian. Republished here in a facsimile edition, the book ostensibly traces its protagonist Lyn’s journeys to Mexico and her return to attend art school in 1980s New York, but what emerges is more an intertextual assemblage of the moments between drives, dreams, and consciousness. Lyn does her Spanish homework and makes note to read Anna Kavan and Cortázar; she watches Fellini; she dreams about the Mediterranean Sea. Much like Green’s multimedia installations encompassing the sonic, spatial, and visual, Camino Road is richly layered—part intellectual genealogy, part fictional personal memory, and part cultural criticism.

Green has described the book as a “self-conscious homage to or parody of the ‘road novel,’ ‘bohemia,’ and artist-rebels.” “I’d been thinking about the beat generation, figures like Jack Kerouac, Burroughs, etc.—the mythic construction of the artist personality as rebel and how females, and myself in particular, entered into that,” she said. “These ‘beat’ sources seemed to form a typical American introduction to the idea of bohemia and of being an artist.”

Originally created as part of Green’s contribution for the group exhibition “Cocido y crudo/The Cooked and the Raw” at the Museo Nacional Centro de Arte Reina Sofía, Madrid, the text is written in both English and Spanish, and accompanied by an appendix of photographs and ephemera tracing Madrid’s La Movida, a Spanish countercultural moment from the 1980s. The book was published through Green’s production company, Free Agent Media (FAM), which since 1994 has been circulating and exhibiting media, printed matter, and time-based projects.

A unique treatise on the circuits of exchange in gender, politics, and art, Camino Road can also be read as a variation on the classic Bildungsroman genre. “I don’t feel developed in any area,” thinks Lyn at one point. “It’s very difficult being young and incomplete.” Importantly, she also muses, “I want to be swallowed by another language.”