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Monthly Archives: November 2013

Jeremy Deller + Warp records collaborate for Late at Tate Britain

November 13, 2013 Art News No Comments

Jeremy Deller to be joined by Oneohtrix Point Never, Hudson Mohawke and Rustie to soundtrack a series of audio/visual pieces at Tate Britain this December.

Late at Tate Britain and Warp Records are to host an evening of live performances and audio installations which will see producers from the label collaborate alongside Turner Prize winner Jeremy Deller in response to the artist’s iconic 1998 piece The History Of The World.

Taking over Tate Britain’s grand Duveen hall which will use Deller’s bandstand as its focal point, Warp will transform the adjacent galleries into immersive installation spaces. Lots more Info and images over at The Vinyl Factory

Warp x Tate is free to visit on 6th December and will run from 6.30pm til 10pm.
More INfo: warp-x-tate.net

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mamco_delphine-reistDelphine Reist, La Chute

The Never Ending Stories cycle, autumn sequence 2013-2014
16 October 2013 to 12 January 2014

MAMCO

Car parks, public lavatories, building sites, basements, government buildings: Delphine Reist’s works are usually located in such thankless, characterless places, devoid of real status and not considered conventional settings for art. Her interventions involve setting ordinary objects in motion: an ever-rolling  barrel, dancing shopping carts, self-starting cars, sporadically swaying curtains… A small, dehumanised theatre in which the spirit of the place is embodied by a revolt of standardised goods.

Now presented at Mamco, La Chute (‘Falling’) involves a similar animation of the commonplace. On entering the Don Judd Loft, visitors will no doubt have a frustrating sense of having got there too late, when it’s all over, and seeing nothing but the remnants, the ruins of a spectacular, violent performance. On the floor is a large piece of ceiling that has just come down, exposing its metal skeleton. Some viewers will be stunned by this seemingly alarming evidence that the building is starting to fall apart. However, more alert eyes may recognise an attempt by the artist to sabotage the authority of the museum, thereby reviving the radicalism of a whole generation of artists who have turned their backs on the whole institution, such as Michael Asher, Hans Haacke or Hans Schabus. And yet the reference stops there, for the damaged ceiling reveals no baleful backgrounds or spectacular bursts of light. Instead, above the ceiling is another ceiling. The thing lying on the ground is simply a piece of lining, stage scenery. It refers to an earlier state of the premises — the Mamco building is a disused factory — as well as to the twilight, romantic vision of its decay. Falling can then be seen as an allegorical  expression of ‘constancy in the laws that govern the world’ — also briefly seen in Reist’s video Averse(‘Downpour’, 2007), in which fluorescent tubes hanging from the ceiling of a multi-purpose room (an office? a classroom?) break away one after the other and shatter on the floor.
This falling also implies a similarity between exhibition spaces and work spaces. Dropped ceilings are part of the architectural vocabulary of offices, but seldom of museums — and this is accentuated by the presence on one of the walls of a row of coat hooks whose shapes are dictated by the combined laws of rationalisation and safety. A changing-room locker with several twitching bags whose undulations recall the briefly brushing bodies normally seen in these cramped spaces. A little further on, another destructive force, another effect of the laws of gravity can be seen in a large wine stain on the wall together with bits of broken bottle, the result and the cause of a movement halfway between a drunken brawl and the polished ritual of a christening. Here we can also detect a nod to some famous avant-garde works — first and foremost Robert Smithson’s Asphalt Rundown(1969). But, in putting her intervention on the scale of a domestic accident, Delphine Reist is again subtly alluding to the museum setting. The form presented here recalls both the opening of an exhibition and the cleaning of the rooms where it takes place. Reist’s ‘falling’ takes us through this shared panoply of movements, objects, situations and furniture — a salutary plunge towards a ‘reality on this side of our threshold of awareness’.

Delphine Reist was born in 1970 and lives in Geneva.
* This English translation has been provided with the support of the J.P. Morgan Private Bank.

Reists’ works seem to use actions, past, present or future to construct or deconstruct spaces, capturing moments for the viewer to reflect on.  If you would like more information on her work please see the Lange + Pult Gallery where she is represented click here.

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I am well over half way through my residency here in Athens.  The experience has given me time to reflect and focus not just on the proposed new works I hope to start working on but give me new perspectives on continuing themes within my practice.  The city has given me plenty more new ideas for future works and added to existing ideas, bolstering concerns ongoing.

As I posted recently I attended Urban Lightscapes Symposium which definitely gave me a wake up on certain areas of my practice and again reminded me to consider a wider practice.  This past weekend I started some workshops for the upcoming Sound Tectonics that is happening this coming week.  These workshops introduced both Processing and Arduino which I have used before but allowed me to understand further the benefits of such tools.  The workshops were long but really good and I feel a little more capable with these tools now, even considering future projects using Processing that prior to these I would of tried other methods first.  So I am getting excited for the whole week coming up which should give me new thoughts and ideas as to where I am going with sound within my practice.

The Glitch works I have been working on have started to come together.  I have had to really think before starting these new works of how to order my process.  Considering a language that will allow me to find each sample and know where I found it and where I could use it.  This has meant I have had to label each sample either using a systematic approach of 1-28/A-S or more descriptive BW Slow Fade Whisper Crackles, Silent Double Beeps.  I have attached a test run of a track that I am in the process of putting together based of the image above.  The abandoned airport here in Athens, Ellinikon.  The track uses 12 samples currently of this image mainly Black and White though some colour samples as well.  I have not yet used any effects on these samples so the track is pure Glitch image with only the volume adjusted.  Have a listen and let me know what you think, I will post the track in its next form once I use a bit of artistic license and use effects to manipulate the sounds a little and add some midi samples.

 

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Really drawn to these text works by STEFAN BRÜGGEMANN.  I am not sure whether it is because I feel familiar with his approach or whether I am just quizzical about the sincerity of them.  Having made text works myself and continuing to do so currently they bridge an odd gap in the art world.  A chance to state the obvious whilst also hinting at more.  Whether one should be confrontational or just suggestive I am still at odds with. I do think that BRÜGGEMANN is clear in the intention and decisive in the application.  The meaning though will always be unending as people read what they will.

To see more works check STEFAN BRÜGGEMANN website.

 

 

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réclamer – Valentin Ruhry Solo Exhibition

Dates: 16.05.2013 – 02.06.2013

@KM K,

Burgring 2
8010 Graz
Österreich
www.km-k.at

 

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Earlier this week I had the pleasure of seeing Valentin Ruhry talk about his practice at the Urban Lightscapes Symposium here in Athens.  He talked about his use of light as a medium and how he is still a sculptor yet light is one of the mediums he works with.  Without light do actual works of art exist when the lights are switched off at the end of the day/exhibition.  What is left if the work cannot be seen?  He spoke about how his interest in light works came about by making the unseen visible.  His current show “réclamer” exhibits naked illuminated advertising signs.  The works were made purely to display the form and materiality of these signs without meaning.  Though with such artwork once installed the power of their natural presence prompted discourse around the political meaning these structures and forms invoked.

For me they remind me of the power of no advertising and an urgency to look past what is push in front of our view and daily experience. Rather to look to what is not obvious and seek an alternate perspective on our situation and landscape.

Ruhrys’ website (www.ruhry.at) provides a resource for his other works and projects.  It is pretty extensive so take your time and have a look through his work.  Here are a few examples of his other works:

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forgive_me_2007_ruhry-0f9b48b2 hello_world_02_front-62d6e451 obs_1-0e2ed725 RUHRY-Falsche_Universalismen_2012_24_5283-b542b3ee RUHRY-Position_2012_01_4605-28520eeb RUHRY-radikale_transparenz_2011_01_5361-10a036e0

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Neïl Beloufa is currently showing at François Ghebaly.  His work always fascinates me and hopefully one day I will eventually get to see a show of his in person.  The current exhibition comes with a press release written by Andrew Berardini and is apt for the works that I see being produced by Beloufa.  The press release does what his works do, as though you are double taking or missing a trick.  This engagement brings me back for more and its what makes me like certain works and pass by others.

Here is the release:

Looking everywhere for low-cost, robust quality artwork? Go someplace else.

François Ghebaly isn’t proud to present some of the worst merchandise by Neïl Beloufa. All artwork comes with an “originality” dilemma and so we understand that the lack of originality brings minimal meaning to otherwise invigorating cultural experiences. Keeping that in mind, we can’t offer you a unique solution. This is sub-standard materials and shoddy craftsmanship combined into a truly derivative product.

The product is the problem, the object not worth the effort.

We can pretend of course with half-understood words and derivative ideas. We can write about “critiques of capitalism,” or “the rhetoric of boosterism,” or better “the theatre of consumer desire that penetrates the quotidian, our inner cores.” And if we were feeling exceptionally deceptive, we could insert phrases like “the most significant” or “the leading artist of this generation” and other deplorable superlatives. ███████████████████████████████████████████

Now comes the worst part—while most artworks succeed in their ease of storage, these bulky, unwieldy objects are also difficult to store after use. Beloufa’s work occupies more space while still giving you the least original ideas. While it employs empty gestures and garbled philosophy, it can never be easily dismantled into convenient storage units and impossible to reduce to a single unmuddied brand.

As regards any issues pertaining to repairs and replacements, our services are completely unavailable. As part of our introductory offer, we are asking you to enter a waiting list until you’re allowed to pay.

We want your home to be the cleanest in the neighborhood, so this artwork really isn’t for you. It really doesn’t matter to us!

– Andrew Berardini

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