Exhibition: OMA/Progress

OMA/Progress, 6 October 2011 – 19 February 2012
Barbican Art Gallery

This autumn, the Barbican Art Gallery is transformed by an exhibition on OMA, one of the most influential architecture practices working today. Celebrated as much for their daring and unconventional ideas as their inventive buildings, the work of OMA and its think tank AMO anticipates the architectural, engineering and cultural ideas transforming our material world.

The show is curated not by OMA but by Rotor, a Belgian collective that has been occupying OMA’s Rotterdam office for the past few months, gathering materials and intelligence on the office. Foraging in the archive, and even in OMA’s wastepaper, Rotor has selected hundreds of objects from the last 35 years that tell a fresh and independent story of the office.

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Erika Vogt, Slug, Simone Subal

25 September 2015

Magazine Contemporary Culture

Art Artists Exhibitions Main No Comments

Erika Vogt, Stranger Debris Roll Roll Roll, 2013 and installation view of Slug, 2015

Erika Vogt might alternately be described as a sculptor, printmaker or video artist, but, like so many of her peers, these labels merely point at the edges of something deeper. Born out of the tradition of experimental film, Erika brings to bear many of the techniques from that practice to her sculptures and installations – collaging, layering and cutting up different material.

Erika Vogt, born 1973, is a Los Angeles based artist represented by Overduin & Co. in Los Angeles and Simone Subal Gallery in New York City. She received an MFA from California Institute of the Arts and a BFA from New York University.

Vogt uses a range of media and techniques in order to explore the mutability of images and objects. Within her installations, she fuses elements of sculpture, drawing, video, and photography to produce multilayered image spaces. She challenges prescribed art-making systems, conflating and confusing their logic, as sculptures take on the properties of drawing and photographs take on the nature of film. Building on her background in experimental filmmaking, Vogt’s visually dense videos combine both still and moving images, digital and analog technologies, and playfully incorporate drawings and objects from her previous projects. In her recent work, exemplified by installations such as Notes on Currency (2012), The Engraved Plane (2012), and Grounds and Airs (2012), Vogt took as her subject the ritual use and exchange of objects, such as currency, and investigated the empathetic relationship between objects and people.

To read Slug through this gift of words (albeit someone else’s) as “an extension of the interior life of the giver, both in space and time, into the interior life of the receiver” allows us to perceive the slug in its dialectical sense: as a $50 gold coin, for sure, but also its opposite, a counterfeit, a token used to subvert a slot machine’s understanding of exchange value. We experience Slug as the implicit trace of productive activity, but it also transforms us (the viewer) into the slug, the interval between things, the breath or gap. “But blank lines do not say nothing,” as Carson writes.

Through her work, Vogt attempts to gesture towards community. Not in the educational sense or what we conflate with “social practice” as an institutional turn, but in the old way, the way it used to mean friendship, comradeship, living and working together. The sculptures shade, point, protect and interact with each other, creating new perspectives on and for one another. Bringing to mind Shelly Silver’s Things I forgot to tell myself, in which the filmmaker’s scrunched up hand forms an aperture through which we see the city, we should read Slug together. It is through their implied social relation that these objects reveal sincerity. Vogt refuses to take the stance of either cynical embrace or pseudo-rebellious anti-art, meaning there is instead an untypical openness to the work. It yearns to protect, to support.

Source: Art News, September, 2015.

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Armando Andrade Tudela

9 June 2011

Magazine Contemporary Culture

Art Main No Comments

Armando Andrade Tudela, Untitled (Rattan 4), 2009

Armando Andrade Tudela (born 1975, Lima, Peru) is an artist living and working in St Etienne, France and Berlin, Germany.

Andrade studied at Pontifícia Universidad Católica, Lima, Perú, The Royal College of Arts, London, and at the Jan Van Eyck Akademie, Maastricht. He was a founding member of the artist run space and art collective Espacio La Culpable, Lima, Perú.

Andrade has taken part in the 2006 São Paulo Biennial, the 2006 Shanghai Biennial and the 2005 Torino Triennale.

His latest solo show, INKA SNOW is an extension of the artist’s ongoing research practice into forms of Tropical Modernism. In previous works, like CAMION (2004), his series of Billboard Photographs (2004-5) and Fragmentos de Escultura (2005), the artist has recombined existing and imagined forms out of a growing interest in local manifestations of the informal that occur on the precarious boundary between the historic and the new.

Tudela is represented by Carl Freedman Gallery, London.

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T293 Gallery, Naples and Rome

6 April 2015

Magazine Contemporary Culture

Culture Galleries No Comments

Established in 2002 in an historical building of the Neapolitan centre, in Via dei Tribunali 293, T293 has always been characterised by a keen awareness on artistic practices that are both experimental and conceptually relevant to the current discourse in the field. First conceived as artists’ space dedicated to the support of emerging artists, in 2006 T293 changes its organizational status and starts operating as a company managed by the founder Paola Guadagnino and the independent curator Marco Altavilla, who joined as co-Director.

With the new organization, new purposes have been added, expanding the gallery’s mission towards a more international approach and a more incisive curatorial attitude. With the firm intention to honour its roots while also mainting an international status, in 2010 T293 chooses to be headquartered in Rome and to become a benchmark in the contemporary art sector, both nationally and internationally. First located near to Piazza Navona, it then moves to via Giovanni Mario Crescimbeni, few minutes walking from the Colosseum, where is still located.

Addressing an audience that is simultaneously cosmopolitan and qualified, T293 cultivates a professional network characterised by the high professionality of its members. In order to achieve its primary goals, since the very beginning of its activity T293 has presented groundbreaking projects at international art fairs such as Frieze London, Frieze New York, MiArt in Milan, Art Basel Miami Beach and Art Basel-Art Statements, where in 2008 has been awarded the prestigious Bâloise Art Prize (with a solo show of Tris Vonna-Michell).

Its eagerness in finding what is new in the contemporary artistic scenario has allowed T293 to be the place where today’s most interesting artists have had their first solo shows. The artists T293 represents always achieve international recognition as testified by their activities in institutions such as Tate, Palais de Tokyo, Museum Fridericianum and La Biennale di Venezia among the others. More recently, T293 has inaugurated new, successful models of collaboration with other professionals, hosting within its walls a programme of artistic residencies as well as innovative curatorial projects conceived together with other galleries and institutions.

Willing to nurture the development of contemporary art and visual culture through different generations of artists, T293 showcases that which is the excellence in the contemporary art field not only through its far-reaching exhibitions programme, but also with the support of projects and publications that act as catalysts for the development of fresh ways of seeing and contextualizing contemporary art.

http://www.t293.it/gallery/

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Pierre Huyghe

15 June 2014

Magazine Contemporary Culture

Artists Main No Comments

Pierre Huyghe, In Border Deep, 2014. and The Host and The Cloud, 2010

Pierre Huyghe (born 11 September 1962) is a French artist who works in a variety of media from films and sculptures to public interventions and living systems.
Describing his work can often be an exercise in frustration, bringing to mind the poet John Ashbery’s observation about Roussel, an important influence on Mr. Huyghe: that trying to summarize Roussel’s “mad wealth of particulars” was like trying to “summarize the Manhattan phone book”.

Pierre Huyghe has long loved “Locus Solus,” Raymond Roussel’s 1914 novel about an inventor who invites friends to a secluded estate to show off his creations, one of which is a tank filled with cadavers that re-enact the most important moments of their former lives, animated by a miraculous substance called resurrectine.

Huyghe has been working with time-based situations and has explored the exhibition process from the 90’s. His works imply such diverse forms as living systems, objects, films, photographs, drawings and music. In recent years, he has created self-generating systems, including living entities and artifacts, in which emergence and rhythm are indeterminate and exist beyond our presence. Taking the exhibition and its ritual as an object in itself, Pierre Huyghe has worked to change the paradigm of this encounter, exploring the possibility of this dynamic experience.

He has had numerous international solo exhibitions at such venues as the Los Angeles County Museum of Art, Los Angeles (2014); the Museum Ludwig, Cologne (2014); the Centre Pompidou, Paris (2013-2014); the Museo Tamayo Arte Contemporaneo, Mexico City, Mexico (2012); Museo Nacional Centro de Arte Reina Sofía, Madrid, Spain and the Art Institute of Chicago, Chicago, IL (2010); Tate Modern, London, England (2006); Moderna Museet, Stockholm, Sweden and the Irish Museum of Modern Art, Dublin, Ireland (2005); Castello di Rivoli Museo d’Arte Contemporanea, Turin (2004); the Solomon R. Guggenheim Museum, New York and DIA Center for the Arts, New York (2003); the Van Abbemuseum, Eindhoven (2001); the Museum of Contemporary Art, Chicago (2000); and the Musée d’Art Moderne de la Ville de Paris (1998).

He has also participated in a number of international art shows, including documenta XI (2002), XIII (2012); the Istanbul Biennial (1999); the Carnegie International, Pittsburgh (1999); Manifesta 2, Luxembourg (1998); the 2nd Johannesburg Biennial (1997); and the Biennale d’Art Contemporain de Lyon (1995).

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Lutz Becker, Cinema Notes, 1975

20 September 2012

Magazine Contemporary Culture

Art Main No Comments

Lutz Becker, Installation view, Cinema Notes, 1975. 16mm Black and White, 45 mins

For many years lost and recently found, Kino Beleške was produced in 1975 in collaboration with the group of artists, curators and critics gathered around the Student Cultural Centre, Belgrade. The film includes verbal statements and performative gestures of the numerous protagonists of the New artistic practice in former Yugoslavia, referring to the role of art in society and re-thinking the concepts of form, autonomy, economy, politicality and institutionalization of contemporary art.

Participants were Marina Abramovic, Dunja Blazevic, Jesa Denegri, Goran Djordevic, Nesa Paripovic, , Bojana Pejic, Zoran Popovic, Jasna Tijardovic, Slavko Timotijevic, Rasa Todosijevic, Biljana Tomic, Goran Trbuljak, Dragomir Zupanc

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