elle Mardahl
Wonderland Art Space is proud to present Helle Mardahl and her first solo show in Denmark " A Royal Orgy Of Consumption"
Wonderland Online
Thursday, July 31, 2008
Wednesday, July 30, 2008
SIMONE AABERG KÆRN
SIMONE AABERG KÆRN
- Open Sky
For the first time in Denmark Simone Aaberg Kærns (b. 1968) celebrated show Open Sky will be shown at ARoS. In 2002, Simone Aaberg Kærn flew in her small aircraft from Copenhagen to Kabul to enable an Afghan girl to realize her dream of flying. This journey forms the core of the show Open Sky.
Aros
Tuesday, July 29, 2008
Saturday, July 26, 2008
Terence KOH: 4'26"
Terence KOH: 4'26"
4'26" is a music video of sorts. A lone naked figure, wearing high black patent leather boots and long black hair thrashes his body about, enticing the viewer but never fully committing to what it he is offering…
Koh's work has been reviewed in numerous publications including Flash Art, Art Review, ArtForum, Frieze, The New York Times, The LA Times, artUS, I-D, o32c, Metropolis El Mundo and many others.
Catalogs are available for "Captain Buddha" published by the Schirn Kunsthalle, "God", published by Phillips DePury and Company, "The Whole Family Redux" published in conjunction with the 5 year anniversary of The Whole Family show at Peres Projects LA, "Terence Koh," published by The Whitney Museum of Contemporary Art and Kunsthalle Zurich in conjunction with solo shows at both locations, "Gone, yet still," "Koh & 50 Most Beautiful Boy," "The Whole Family," "Dark" curated by Rein Wolfs.
Peres Projects
Friday, July 25, 2008
EDWIN PRESENTS A STORY OF A MAN LIKE ME
EDWIN PRESENTS A STORY OF A MAN LIKE ME
FRIDAY 1 AUGUST 2008
VILMAGOLD
Wednesday, July 23, 2008
Tuesday, July 22, 2008
Monday, July 21, 2008
Saturday, July 19, 2008
Bruce LABRUCE No Skin Of My Ass (1991)
Bruce LABRUCE No Skin Of My Ass (1991)
A lonely hairdresser watches the title sequence of "That Cold Day in the Park" then visits a local park to invite a down-and-out skinhead to his apartment. He draws the silent man a bath and talks to him as he soaks. He locks his guest in a bedroom. Next day, the skinhead leaves through the window and visits his sister, who's making a film called "Sisters of the SLA." He helps with a screen-test. The hairdresser has dreams and fantasies involving the skinhead, the skinhead returns to visit him, and then the filmmaker pays a call on the two men, exposing her brother as faking his silence and pretending a lack of sexual interest. Fantasies can come true.
Peres Projects
Friday, July 18, 2008
Thursday, July 17, 2008
Wednesday, July 16, 2008
Monday, July 14, 2008
TONIGHT FORGET ABOUT YOUR HOUSES AND CARS
Tonight Forget About Your Houses and Cars deconstructs the allure of the apocalyptic. From bombs and explosions to cults and catastrophes, the exhibition explores the place of disaster in the collective imagination. Employing devices ranging from comic illustration to doomsday prophecy and postmodern meta-narrative, the artists in the exhibition consider both the historical and contemporary place of disaster, and the mysteries of its enduring appeal.
Matt O’Dell and Ahmed Alsoudani stage the visceral drama of disaster and destruction in works that reference acutely contemporary conflicts, ranging from the war in Iraq to the terrorist attacks of September 11th. Creating dramatic images and hermetically crafted aesthetics, these works viscerally present the apocalypse that daily takes place around us. Meanwhile, Christoph Draeger’s puzzle piece begins with a single image - a bomb explosion - and illustrates the manner in which this image is painstakingly reconstituted in our imagination.
Justin Lieberman, Doug Fishbone, Neil Hamon and Draeger / Reynolds explore the role of pop culture and news media in propagating ideas of the impending apocalypse. Employing barbed humor and a jarring sense of playfulness, these artists mine the territory of television and movies to create distinct and memorable narratives describing our contemporary social and political climate. Often inherently nostalgic, they reveal the way the idea of the apocalyptic is as much a hearkening back into the past as it is a projection forward.
That apparent temporal confusion is crucial to understanding the way in which the apocalyptic is fundamental not only to our ideas of culture and society, but also to our idea of utopia itself. In the apocalyptic, ideas of oblivion and disaster coincide. Tobias Collier’s floor work evokes the harmony of planetary systems in which destruction is inherent to order; Ivan Navarro’s light sculptures produce a sensation of menacing calm, at once rooted in the specifics of political turmoil and evoking an enduring erasure.
Similarly, Dan Colen’s paintings and Shinichi Hara’s marble sculpture articulate a vision in which peace gives way to horror. Colen’s birdshit paintings are at once entrancingly beautiful and deliberately repulsive. And Hara’s sculpture of the grotesque locates the point at which beauty and horror coincide, and dread and calm co-exist. In this way, Hara, like many of the artists in Tonight Forget About Your Houses and Cars, depicts a zone in which the apocalypse is no phantom from the future, but a catastrophe that has already taken place.
Artists exhibiting in Tonight Forget About Your Houses and Cars: Ahmed Alsoudani, Dan Colen, Tobias Collier, Christoph Draeger / Reynold Reynolds, Neil Hamon, Shinichi Hara, Justin Lieberman, Bernhard Martin, Ivan Navarro, Matt O’Dell, Christoph Schmidberger and Guy Richards Smit.
Union Gallery
Saturday, July 12, 2008
Mark TITCHNER: Ivy Meet Mike (2007)
Mark TITCHNER: Ivy Meet Mike (2007)
Mark Titchner's "Ivy Meet Mike" is a kaleidoscopic video animation of footage of the first hydrogen bomb experiment, code-named Ivy Mike. What sounds like a computer-generated voice repeats 'yes' in rapid succession, so that the one syllable become a rhythmic chant with no beginning or end. It suggests the robotic embrace of fission and an acquiescence to the strong will of a technology that, for a time, embodied the "free world's" darkest visions of apocalypse and sublimated fantasies of omnipotence.
Oddly psychedelic, the work's aesthetic recalls an arcane vision of the future: on the one hand, it is obsolete technophile aesthetics in motion; on the other, with its irregular pulsing it appears organic at the same time.
Mark TITCHNER, born 1973 in Luton, England, will open a solo show at Peres Projects Berlin November 1st, 2008.
Peres Projects
Friday, July 11, 2008
Thursday, July 10, 2008
Thanks For Coming
Thanks For Coming
BONNIE CAMPLIN
JAMIE ISENSTEIN
BABETTE MANGOLTE
PAOLA PIVI
MARTHA ROSLER
Benevento Los Angeles
Wednesday, July 09, 2008
That's Not How I Remember It
ANNA HELWING GALLERY
presents
That's Not How I Remember It
July 12 - August 16, 2008
Reception: July 12, 6-8pm
Anna Helwing Gallery is pleased to announce its upcoming exhibition
That's Not How I Remember It, a group show featuring:
Matias Faldbakken
Diango Hernandez
Alastair MacKinven
David Maljkovic
Adam McEwen
Wilfredo Prieto
Armando Andrade Tudela
Adam McEwen, I'm So Tired, 2007
The opening reception will be held on Saturday, July 12, 2008 from 6 to 8pm. The gallery is located on 2766 S. La Cienega Blvd., Los Angeles, CA 90034. Regular gallery hours are Tuesday through Saturday, 11am to 6pm.
With this group exhibition, Anna Helwing Gallery selects seven artists whose work hinges on the subtle, yet ever increasing "corporate-ization" or "Western-ization", or eventually Americanization of culture abroad. This cultural shift towards a social homogenization reflects a larger cultural and economical globalization of individual realities and aesthetics, and a resulting clash of ancestral and new values, beliefs, and moral systems visually and aesthetically manifested.
This group exhibition gathers the work of seven talented artists that employ this theme. Whether it's in terms of investigating the potential of artistic intervention to disrupt the systems underlying this process; or whether it's an interest in countercultural movements; or whether it's in terms of exploring how political ideas are assimilated and activated aesthetically; or whether it's a heightened interest in the dislocation of weary, dead modernist aesthetics and utopian ideology. It's about the visualization of the difficulty of collective identity in times of cultural and economical globalization, its interpersonal conflicts, and the problematization of material and abstract ideals, all seen through the artist's eyes.
Anna Helwing
Tuesday, July 08, 2008
Microwave, six
microwave, six
July 10 – September 13, 2008
Kamrooz Aram Ernesto Caivano Graham Dolphin
Jacob Dyrenforth Stephen Eichhorn Alexandra Grant Jim Hodges
Károly Keserü Brian Lund Rivane Neuenschwander
Renato Orara Jesse Pasca Andrew Scott Ross Casey Jex Smith
Dean Smith Allyson Strafella Phoebe Washburn
Joseebienvenugallery
Monday, July 07, 2008
National Geographi
Faggionato Fine Arts is pleased to announce the opening of National Geographic, a group show featuring work by Maria von Köhler, Alain Miller, John Summers and John Tiney.
The exhibition, National Geographic, with its connotations of discovery, adventure and knowledge, its vast repository of subject matter -The world- here brings together four young artists whose works defy simple contextual definition. Using inspiration from the everyday, they create an entirely new and unfamiliar constituency of elements, encouraging the viewer to momentarily inhabit new realities, self-contained worlds of their creation. The artists' forensic use of source material and imagery encapsulate moments that bridge identity and location, allowing the viewer to reflect on the pragmatic real world from a surreal standpoint. Through a broad amalgamation of references, the works connect the emotional with material side of life, bringing the viewer full circle to the awareness of a hyper-reality.
Maria von Köhler's artistic practice is characterized by skillfully crafted, figurative fiberglass sculptures that perform as somewhat disturbing, artificial monuments to a homogenized yet un-penetrable and evasive ideology. Referencing historical, religious and political iconography in art, media and pop-culture, von Köhler examines the portrayal of heroic or propagandist figures, acts and symbols in their countless forms and the relevance of meaning they supposedly embody.
Alain Miller typifies his work as a form of expanded 'portraiture', sampling and addressing terms of identity. He collapses physiognomy with physiology and creates uncanny, disquieting images. However it is not so much the surreal qualities in his paintings, as the influence of French author Raymond Roussel, that aligns Miller with surrealists. Roussel's famous work Impressions of Africa (1910) was written according to formal constraints based on homonymic puns. On what he describes as a collision course with the thinking and writing of Roussel, Miller follows a processing system of his own to compose and develop his 'portraiture'.
John Summers' sculptural works are the result of an intense physical ritual and exploration of material, currently rough concrete grit and metallic foil played off against fluorescent transparent nylon and wire. Assembled found objects and leftover debris from the outside world are morphed into a seemingly inchoate mass that belies a sophisticated order and control. Form, weight and balance are held in tension in tightly constructed precarious harmony. Resting uneasily, the heavy solid forms are like asteroids, apparently organic and yet otherworldly.
John Tiney's meticulous execution of acrylic on board contrasts strongly with the areas of rough surface he leaves bare, further juxtaposed by the strict graphic outlines and his loose painterly style. From the visual overdrive of consumer imagery, Tiney mixes references from found photos, book illustration, the web and sub-culture, seemingly at random. Through a synthesis of found and reworked images he creates an uneasy environment that merges tension with high-pop humour, revealing his own twisted mythologies in psychedelic fantasy realms.
Faggionato
Sunday, July 06, 2008
Dean SAMESHIMA: BOYS IN MY BEDROOM
Dean SAMESHIMA: BOYS IN MY BEDROOM
Javier Peres is pleased to present, during week two of our summer video program, Dean Sameshimas video; Boys in my Bedroom. A two hour montage of hunky male TV personalities as seen through the slightly obsessive gaze of the artist. Channels are quickly changed as the object of affections disappears, and a new one is found. The artist will be present during the viewing.
Sameshimas recent solo show "NUMBERS II" will travel to our Los Angeles gallery this fall, from September 06 through October 04.
Sameshima has been featured in Art Forum, Index, Flash Photo, I-D, Soma, The New York Times. "Instilled and Lost," featuring selected works, was just published by Peres Projects. Other catalogues include "Hysteric Seven"(2002), and "Young Men At Play, vol. 1 & 2". He was also included in the "Cream 3, 2003" catalogue and "Vitamin Ph, New Perspectives in Photography," 2006.Sameshima is included in the collection of the Museum of Contemporary Art, Los Angeles.
Peres Projects
Friday, July 04, 2008
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