SCHAU ORT gallery is pleased to announce our second solo show with the internationally renowned artist Keren Cytter (*1977). In her exhibition Don’t trust Americans, the Israeli artist presents her latest video work: two episodes of a so far unfinished multi-part series. In her new work, Keren Cytter, who recently moved to New York, comes to terms with her own currently changing life situation. In particular, she takes up the US TV-format of the “daily soap” and processes classic themes of drama in personal relationships: love, envy, betrayal, and vengeance...
RACHEL HOWARD, JANE SIMPSON AND AMELIA NEWTON WHITELAW
Gravity and Grace celebrated the transitional nature of sculpture during the late 1960s and early 1970s by presenting some of the most important and provocative works made during these years. Illustrating the revolutionary influence of Arte Povera upon sculptural practice in America and Europe at this time, the exhibition highlighted a rejection of sophisticated methods of construction and traditional materials.
Art, as we understand it over the past 200 years, has successfully emancipated itself from handcrafts. What can actually be classed as art has become a key question - without an unequivocal answer - both for those who make it and indeed art's audience in equal measure. The theme-based exhibition "We Aren't Musicians" is devoted specifically to the current question of the role of ability in art.
The participating artists Paulina Olowska (b. 1976), Vincent Vulsma (b. 1982) and Martin Zellerhoff (b. 1964) respectively will present a special selection of artworks. Not a group show as such, the theme of "We Aren't Musicians" can be accessed in the juxtaposition of individual, artistic practices. The question relating to individual ability is central to the topic here.
MoMA PS1 presents the first survey of Lara Favaretto (b. Treviso, 1973), comprising a dozen works from the past fifteen years, as well as new pieces created specifically for the exhibition. Organized by MoMA PS1 Curator Peter Eleey, the show will also feature the first presentation of the extensive archive of images that the artist has collected as source material and inspiration.
Lisa Cooley is thrilled to announce Josh Faught’s second solo show at the gallery, Longtime Companion. Faught employs marginalized materials and techniques, such as weaving and other traditional crafts, to explore marginalized feelings – the intersection of identity, desire, loss, ornamentation, sexual politics, and domesticity. Faught’s signature sculptural forms – loose, irregular hemp weaves, sagging, draped fabric, loofah-like burrows, pockets, frayed knots and webs – appear here in a new body of work that oscillates between suggesting threats and protecting against malice.
ANDREAS ANGELIDAKIS, ANGELO PLESSAS, TRAVESS SMALLEY, ELLIOTT WRIGHT
IN ‘EVERYTHING WAS MICHAEL BOLTON AND NOTHING HURT’, TAKING AS BASIS A SERIES OF OBSERVATIONS ON THE MEASUREMENT PROBLEM IN QUANTUM THEORY, NOTIONS OF THE ART OBJECT AS PARTICLE AND THE ART EXHIBITION AS SYSTEM ARE INVESTIGATED. IN QUANTUM REALITY, A SYSTEM REMAINS UNAFFECTED UNTIL CONSCIOUSNESS’ PARTICIPATORY ACT ALTERS IT. IN THIS SENSE, A SYSTEM OR CONFIGURATION OF ART OBJECTS AND THE CONSEQUENT INTERPRETATORY ACT OF THE OBSERVER MAY IMPLY A PERPETUAL COLLAPSE OF MEANING AND REVEAL CONSCIOUSNESS AS A DISRUPTIVE AGENT.
The exhibition brings together nine international sculptors, born after 1970 and working in Berlin, who address various perceptual situations within nature as well as the urban setting. Their installations and works trigger physical, chemical, biological or historical processes of transformation. What they have in common is that they deal with existing materials, with objects found in the world of consumerism, construction, and nature including: light and water, simple materials like paper, or the furniture of public space such as bus shelters or fences. Shifting contexts, rearrangement, transvaluation, or collision of elements alien to one another reveal aspects of the new in the sense of a shift in perspective.
Steven Baldi , Nina Beier, Andy Boot, Roe Ethridge, Sean Kennedy , Lucas Knipscher, Michael Krebber, Charles Mayton, Carter Mull, Pamela Rosenkranz, Anri Sala, Asha Schechter, Jesse Willenbring, Viola Yesiltac
Needles in the Camel’s Eye is an examination of how images are intended to be read and further, how they are utilized and dispersed. Each of these artists employs external references that enable their work to be digested in a wide variety of manners. With the deployment of stylistic and pictorial tropes the artists convey meaning with simultaneous clarity and reticence, leaving their images as intentionally unresolved entities. While deftly navigating theoretical, technological and art historical discourses the artists create networks in which to situate nuanced approaches towards production.
LIZ DESCHENES, BROCK ENRIGHT, KELTIE FERRIS, HEIST/P-ORRIDGE, GENESIS BRYER P-ORRIDGE, JACKIE GENDEL, BRION GYSIN, CORINNE JONES, JON KESSLER, NICOLAS LOBO, RORY PARKS, CHAD SCOVILLE, J. PATRICK WALSH
This exhibition stems from the ideas and questions motivated by a single artwork by Brion Gysin. The Dream Machine is an anomaly within the history of art, the only known artwork that is fully activated as the viewer closes their eyes. Taken as such, it suggests an evaluation of how artwork is viewed; its function, its value, and the language we use to engage with it.
Accidentally on Purpose takes its title from an American Sitcom that is situated in the banality of the everyday. The Sitcom characters strive to make the best of unfortunate situations, repetitively re-negotiating the uncertainty of their lives. The desire for escapism through the mass media and episodic formulas suggests an interesting context and approach to this exhibition. Curators Candice Jacobs and Fay Nicolson have selected works that embrace intentional mistakes whilst challenging aesthetic decisions, sincere gestures or logical actions.
International in scope, the exhibition spans more than fifty years and incorporates works by contemporary artists. The works assembled trace the complex historical passage from the mechanical to the optical to the virtual, looking at the ways in which humans have projected anthropomorphic behaviors onto machines that have become progressively more human. In place of a traditional, chronological approach, “Ghosts in the Machine” is conceived as an encyclopedic cabinet of wonders: bringing together an array of artworks and non-art objects to create an unsystematic archive of man’s attempt to reconcile the organic and the mechanical.
The title of the exhibition, Hausrat, meaning "household assets" or "household objects", can be taken literally. The assortment of objects filling the exhibition space all have to do with household and home in one way or another. Many are plucked straight from the domestic environment – such as ironing boards, sledge runners and carpets – while others play on associations of domesticity or convey the sense of "home" as something offering cover and shelter. Detritus that would generally be regarded as refuse is given a new, modified form: Sweepings are permanently preserved in latex and shrivelled fruit and dried leaves are arranged into still lifes to produce what might be called "inventory snapshots" of domesticity frozen in time. Fittingly, one of the pieces featured in the show is entitled "Accumuli", while another is called "DNA" (both from 2012).
At the end of World War II, Japan was left in ruins and a relative cultural void. There was a great need to redefine the various artistic fields. During this period, information on new cultural developments through books and journals was largely only available to the public through the library of CIE (Civil Information and Education section) set up by the Allied Occupation authority. Their weekly record concerts played the latest releases and also functioned as a meeting place.
Laura Vitale will begin work on White Sands, as part of Recess’s signature program, Session. Session invites artists to use Recess’s public space as studio, exhibition venue and grounds for experimentation. For White Sands, Vitale will create a research laboratory for testing the audio-visual properties and material behaviors of gypsum plaster. Vitale will also work with collaborators and interested visitors to undertake these investigations through various methods of performance and recording.
An anonymous YouTube user posts domestic videos through the username Nikeclassics, documenting various acts of adoration and destruction to his pristine collection of trainers. The ritual of destruction and itssharing seems almost sacrificial in function, like a kind of sportswear potlatch. In his video nike air prestige high 13 the process of cutting the trainer down the middle and pulling it apart can be read as desire to see every part of the adored object, exposing in doing so the commodity as pure matter - a fetishism opposing part to whole.
Ottinger explores cultural phenomena and rituals that may often appear exotic to western eyes, taking us to remote, faraway places that reflect both the beauty and the harshness of human life. Her ethnographic portraits of landscapes and communities frequently possess a fairytale quality that almost imperceptibly blurs the distinction between reality and orchestration.
The 8-channel video installation is complemented by further video works and photographs by Ulrike Ottinger.
Jo Spence (1934 – 1992) emerged as a key figure in the mid 1970s from the British photographic left, crucial in debates on photography and the critique of representation. Her work engaged with a range of photographic genres, from documentary to photo therapy, and responded to the prioritisation from the late 1970s onwards of lens-based media in art-critical discourse.
Bruce Lacey (born 1927) is one of Britain's great visionary artists. His lifetime pursuit of eccentric ‘making and doing’ has been a cathartic working-through of his experiences. This survey of a rich and diverse artistic production is a celebration of both his vibrant life (which includes working with Spike Milligan, The Beatles and Ken Russell) and his art which reveals telling links with the visual culture of the last 60 years. Co-curated by artist Jeremy Deller and art historian Professor David Alan Mellor, the exhibition charts Lacey’s artistic development in a career encompassing painting, sculpture, robotised assemblages, theatrical performances and installations, as well as community arts and ritual action performances.