Eva Hesse, No Title (1965), via Hauser and Wirth

Eva Hesse, No Title (1965), via Hauser and Wirth

via Artobserved

Eva Hesse’s 1965, on view at Hauser and Wirth in London, is a visual representation of a productive period in the late artist’s life.  Named after the formative year in which the pieces on view were created, it reflects the artist’s physical and mental states during this period, a time when she undertook a residency at Kettwig an der Ruhr, Germany.  Living in an abandoned textile factory, Hesse built a new style of working from the sewing machines, fabrics and other cast-off material in her space, simultaneously building a new artistic and personal awareness for herself in the process.
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by Josefine Wikström
via Afterall

Boris Charmatz, Flip Book, 2008/2012, performance first presented in 2008 at LiFE, Saint Nazaire, France. View of the performance at The Tanks, Tate Modern, London, September 2012. Photograph: Tate Photography. Courtesy the artist and Tate, London

Boris Charmatz, Flip Book, 2008/2012, performance first presented in 2008 at LiFE, Saint Nazaire, France. View of the performance at The Tanks, Tate Modern, London, September 2012. Photograph: Tate Photography. Courtesy the artist and Tate, London

According to Peter Osborne, art before 1945 was based on ‘a craft-based ontology of mediums’,1 mainly dominated by categories such as painting and sculpture. From then onwards, it moved towards ‘a post-conceptual, transcategorical ontology of materialisations’ – the mix of ‘in between’ or ‘meta’ artistic media such as performance and installation that dominates contemporary practice and with which traditional museums have to contend.2Osborne shows how this current state of contemporary art is the result of both the de-bordering of media (painting and sculpture mainly) and of previously social spaces for art, mainly embodied by national museums. The latter, he claims, have been replaced with a global art market characterised by large-scale international exhibitions and the migrancy of artists, all fuelled by deregulated capital markets that know no national borders. The task of the contemporary art museum today is to reflect and critically engage with this concept of art and these structures of global capital in which it is deeply entangled.
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Yoko Ono: Fly (1970)
Film still.
Courtesy of the Serpentine Gallery and Yoko Ono.

Yoko Ono: To the Light
The Serpentine Gallery
Kensington Gardens
London W2 3XA
19 June through 9 September 2012

Jessica Furseth in whitehot magazine

For such a quirky artist, Yoko Ono has a consistent voice: it’s always been about peace and love, all that stuff. While the message is bold, the delivery is subtle; there doesn’t seem to be anything unusual about the large-scale chess board sitting in the grass behind the Serpentine Gallery, until you realise that all the pieces are white – this is a pacifist game. Inside the audience is invited to pose for photos for the “Smiles” film, where Ono’s brazen goal is to collect a contribution from every person in the world. Keen to be part of Ono’s newest dream, I p
erch down on the seat and wait for the click of the camera. A message flashes up on the screen afterwards: ‘Thank you, you are beautiful.’ It’s such a simple idea: to smile. At the Serpentine Gallery, Ono deals in a currency called happiness … read more

In a radical departure from her usual practice of site-specific projects, Natascha Sadr Haghighian’s first solo exhibition in London is a selection of works from the last fifteen years. She describes her work as a continual process of interrogation and unhinging of sociopolitical hierarchies and conventions; of seeking to defrock and de-stabilise systems of representation and authority. By placing the works alongside each other for the first time, Sadr Haghigian draws out new perspectives and connects the various debates and questions raised by them over the years.

In her exhibition for Carroll / Fletcher, Sadr Haghighian’s richly detailed, collaborative investigations, utilise a wide variety of media, such as video, slide projection, sound, websites, photography, and actions, to explore issues as diverse as the control and manipulation of the world’s scarce resources; consumerism and corporatism; identity, power and class; and the structures and rituals of the professional art world.

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(Mousse Magazine)

by Josefine Wikström
Afterall

Elmgreen & Dragset, Re-g(u)arding the Guards, 2005, 12 museum guards in an empty gallery, dimensions variable. Courtesy the artists and Galerie Perrotin, Paris

The half-day symposium ‘Untitled (Labour)’, held at Tate Britain, London on 17 March 2012, attempted to question the last few years’ frenzied obsession with the discourse around ‘immaterial labour’. Organised by PhD candidate Lauren Rotenberg and her supervisor TJ Demos, both from the History of Art Department at University College London, in collaboration with Tate’s Nora Razian, the symposium brought together artists and academics ranging from the fields of philosophy to sociology, economy and art history. The event aimed to interrogate the impact of immaterial production on the aesthetic forms of contemporary art, to address how ‘artists both embody and contest the precarious working conditions of immaterial labour’1 and in what way ‘contemporary art might or might not offer a critique of capitalism’, as Rotenberg formulated it in the introduction to the event. However the symposium failed firstly in contributing much new to the theory it claimed to use as a springboard for questions around contemporary art production, and secondly in identifying any political implications of such intersection, especially in relation to the working conditions facing artists and cultural workers today.
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During my research on Yinka Shonibare MBE I noticed that nearly all catalog texts or articles in art magazines rewrite always the same topics: How Shonibare works with the Dutch wax, about colonialism, negritude etc. An exception marks Rachel Kent in her clear analysis of Shonibare and narrativity:

„Further themes of inversions and doubling figure strongly as illustrated by the cyclical, looped format of Shonibare‘s films. King Gustav III, for example, gets up to dance one more after beeing assassinsnted. Shonibare has expressed his interest in film and narrative structures in a detailed interview wthin this publication, noting; ,I did not want to make a film with a beginning, middle and end; instead I wanted to explore the reflexivity of the film and and how it reflects back on itself‘. Speaking of Un ballo in Maschera, he could equally have been referring  to Odile and Odette with its literal mirroring of form and content.“
(Kent, Rachel: „Time and Transformation in the Art of Yinka Shonibare MBE.“ In: Yinka Shonibare MBE (Ausstellungskatalog Sidney). Prestel: Berlin u.a. 2008, 12-23, 20.)

Josephine-Meckseper-Blow-Up-Michelli-2006

I saw this exhibition in London and it is astonishing how precise and “new” is the perspective of Saatchie on the German art scene. I suppose this show would not have the quality, if a German museum would have curated. Surprisingly the artists have chosen more traditional forms then “new media”.

“The Saatchi Gallery in London is currently showing the work of twenty-four artists who work in, or are from, Germany. The exhibition, titled Gesamtkunstwerk: New Art From Germany, gives the audience a chance to see artists who come from the currently lively German art scene. Charles Saatchi has been collecting for over thirty years, and has had had numerous influential shows, often focusing on younger artists. The current exhibition continues a focus on younger artists, although there are some older as well, including Isa Genzken (born 1948). All three floors of Saatchi’s London gallery have been put to use, providing the larger pieces with plenty of room, and offering a rather impressive overview of contemporary art being made in Germany today” read more…