Artist: Dozie Kanu

Venue: Project Native Informant, London

Exhibition Title: Owe Deed, One Deep

Date: September 30 – November 13, 2020

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Full gallery of images, press release and link available after the jump.

Images:

Images courtesy of Project Native Informant, London

Press Release:

How might one understand mourning, when the event has yet to end? When the injuries not only perdure, but are inflicted anew? Can one mourn for those lost without assuming and usurping the place of the dead, and yet recognize that current injuries tether one to this past? Can one fashion an emancipatory vision not premised on recovery? Can one mourn what has yet ceased happening? And to what “end” are these questions invoked? 1

In Owe Deed, One Deep, Dozie Kanu presents five new sculptures, all completed this year, which stage the seemingly remote anteriority of the past and the disfigured promises of the present, to an inapproachable, ambiguous future. In merrill-y, the head of the Egyptian god Amon is buffed to shiny gold and attached to a mannequin torso. It lays below an elevated metal arm and torso rester. 0’s and 1’s consists of a vessel tarred black and glossed, holding a single leaf, which will wilt over the duration of exhibition. Composed of a bottle cap opener inscribed with the words “self serve”, in St. Jaded Extinguish, it is attached to a fire extinguisher holder on top of a two-step black metal podium. Healthy Minds Must Grow, Watch From The Bleachers, a day bed frame is reupholstered with pine slots, as in a deck chair, a purple line drawn in the middle. The curved top appearing as horns are adorned by a white hoodie with embroidered hibiscus. One of the day bed’s legs is interchanged as a prosthetic of a rusted plow. hemorrhaged and made deaf consists of plumbing resembling the internal organs of a human. Elements are shrink-wrapped and collaged with images of album covers by 2-DEF, Black Dave, Ghetto Twinz, Big Pokey, and others. A single photograph, Emo State, is repeated twice on the walls of the gallery. Taken by the artist, it shows in blurred distance the Akachi Tower located in Owerri, Nigeria before it was torn down. Constructed to mimic the biblical Tower of Babel with a measurement of over 40 feet, it was built on reclaimed waste land as a commercial and tourist site.

The sculptures and photographs together are embedded in present in all the complexities, fears, hopes and anxieties of its emergence: how did “we” get to this point in contemporary history? It’s fore-bearers lie as far back as the Atlantic slave trade and the uneven continental development over the centuries, and to more contemporary history of economic and environmental loops which have become the norm. Owe Deed, One Deep cites the long partnership between empire, capitalism and modernism, the development of private property and its relationship to the prison industrial complex, and the 2008 housing market crash precipitated by the collapse of the brokerage firm Merrill Lynch. While in previous exhibitions the artist displays his background in industrial and scenic design, creating works which cross the functional and the aesthetic, this is not the primary concern here. Design and the artist’s attention to display are a means to enter and engage in the exhibition. Its most pressing question is the one which begins this text: Can one mourn what has yet ceased happening? Mourning is both an expression of loss that tethers one to the dead, calling on the ownership and debt to the dead, and (assumes to) overcome loss by assuming the place of the dead. Melancholia is its alleged opposite, when the bereaved attempts to understand this space of death by placing oneself in the position of the captive, and loss is attenuated rather than addressed. 2 Melancholia insists that mourning and the past are not yet complete. Kanu’s sculptures are an inescapable confrontation with the dichotomy between mourning and melancholia, which historical markers continue to scar on real human bodies in the present and undermine the future. It is not merely a filter one adopts but the materiality of one’s bodies, an ever present, ever aware and contradictory violation, and an inapproachable, ambiguous future which is the will to be free.

  1 Saidiya Hartman, “The Time of Slavery”, The South Atlantic Quarterly 101:4 (Fall 2012). 2 Sigmund Freud, “Mourning and Melancholia”, Trans. James Strachey, Collected Papers, V. 4 (1917/1957) 152 – 170.

Link: Dozie Kanu at Project Native Informant

The post Dozie Kanu at Project Native Informant first appeared on Contemporary Art Daily.

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With a degree in computer engineering and computer science from the University of Southern California, Lauren Denson is now an quality engineer and supervisor at the Jet Propulsion Laboratory. via NASA https://go.nasa.gov/3pv6fwW

With a degree in computer engineering and computer science from the University of Southern California, Lauren Denson is now an quality engineer and supervisor at the Jet Propulsion Laboratory. via NASA https://go.nasa.gov/3ku9VeD

Artist: Ciprian Muresan

Venue: Hussenot, Paris

Exhibition Title: Incarnation

Date: October 10 – November 14, 2020

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Full gallery of images, press release and link available after the jump.

Images:

Images courtesy of Hussenot, Paris

Press Release:

After the fall of communism, Lenin’s statue was torn down from its pedestal in Free Press Square in Bucharest. Rumours had it that the bronze in the statue was itself reused from a monument of King Ferdinand of Romania, in its turn destroyed and melted by communists.

Before ‘89, the political power in Romania used art and artists for propaganda purposes. Growing up later, I’ve always had the feeling of discharge from this weight, as if my generation was no longer limited in its will to create freely. On the other hand, I’ve also been haunted by the feeling that we were lost and adrift. Being employed by the power generated a feeling of being useful and filled the empty space left by anguishing questions such as: What is our meaning in society? What is it for?

Having this in mind, I kept pondering on how I would approach Lenin today – no prerequisites, no external factors, just me in my studio in Cluj. How absurd is it to exhibit Lenin’s statue in public today? I came up with a strategy to supersize it: I modelled in clay, as classically as possible, a small copy of Boris Caragea’s Lenin in Bucharest, based on reproductions of the destroyed statue. Through the casting process, small negative moulds have resulted, sized 10 to 20 cm. Again, through the modelling process by hand I enlarged 1:6 times scale. The result of the combined final pieces is intended to produce a monumental Lenin sculpture, close in its size to the original, through a formalist, abstract process.

By copying the curves and volumes of the moulds, the transition from positive to negative results in a double deformation, both by reproduction as well as by oversizing. A parallel with history is therefore created – when a good idea is amplified in a distorted way, it becomes an absurd monstrosity.

Ciprian Mureșan

Link: Ciprian Muresan at Hussenot

The post Ciprian Muresan at Hussenot first appeared on Contemporary Art Daily.

from Contemporary Art Daily https://bit.ly/2UofMaB

Непунктуальность – плохая привычка, которая может сильно портить тебе жизнь. Она вредит карьере, рушит планы, вызывает недовольство друзей и близких. Да и в целом плохо сказывается на репутации. Что же делать, чтобы перестать опаздывать? from https://bit.ly/3eV0nYN https://bit.ly/32GqdLo

COVID-19 не останавливаясь забирает жизни, и портит здоровье людей. Однако есть страны-счастливчики, которые не пострадали от коронавируса. from https://bit.ly/3lsmMyV https://bit.ly/3pzZWrU

Во многих случаях организм людей сигнализирует о появившихся проблемах со здоровьем. Ученые считают, что тревожным предвестником опасного заболевания может быть чрезмерная потливость. from https://bit.ly/3eTwVCm https://bit.ly/38DVTor

Коэффициент смертности (КС) — доля умерших от общего числа заразившихся — важнейший показатель опасности инфекционного заболевания. Первые оценки этого параметра для коронавируса (COVID-19) основывались на данных, получаемых буквально с фронтов, и были устрашающе высоки. Затем, по мере накопления данных, они постепенно снижались. Метаанализ, проведенный Джоном Иоаннидисом, показал, что совокупность имеющихся результатов говорит о весьма умеренной угрозе, которую несет вирус для людей (КС = 0,23%).

https://bit.ly/3ksgEpg

In case you’d like to spend a while absorbed in the universe of a single artist’s practice, you might like to visit Contemporary Art Quarterly, where we publish deep archives of the work of individual artists.

This week, we’re featuring the archive of Richard Aldrich, where you can find documentation of 32 projects by the American artist.

The post Contemporary Art Quarterly: Richard Aldrich first appeared on Contemporary Art Daily.

from Contemporary Art Daily https://bit.ly/3ng6SIA

The galaxy UGCA 193, seen here by the NASA/ESA Hubble Space Telescope, is a galaxy in the constellation of Sextans (The Sextant). via NASA https://go.nasa.gov/35lM2Bx

Artist: Yu Nishimura

Venue: Crèvecoeur, Paris

Exhibition Title: Scene of beholder

Date: October 16 – November 21, 2020

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Full gallery of images, press release and link available after the jump.

Images:

Images courtesy of Crèvecoeur, Paris

Press Release:

In Yu Nishimura’s first exhibition at the gallery, which is also his first exhibition in Europe, there are thirteen paintings, all produced in 2020. The smallest one, Arts and Crafts measures 27.3 × 22 cm, and the largest Thicket, 259 × 182 cm. What immediately comes across is an effect of superimposition of several layers, which provokes a slight misalignment. This shift that occurs in his painting (literally) blurs the frontiers between realism (related to photographic mimesis) and abstraction (the universe inherent to an image), between the foreground and the background, and between the different points of view from which the spectator looks at the painting. Though we are looking at flat pieces, hung on the wall, the space in the centre is not empty; it is animated by what is at work in the paintings and between the paintings. The demarcation zone between the inside and the outside is here intentionally ambiguous.

Talking about his painting, he wrote: “It is an entrance; I cannot move forward unless a dog is more than a dog, or a cat is more than a cat.” An entrance is a starting point, the place where an action begins. In the theatre, it is also the moment when an actor enters the stage. When Nishimura is asked about his pictorial influences, he cites Takuma Nakahira, the Japanese photographer and photographic critic (1938-2005), who wrote the radically revolutionary book For a Language to Come, which contains, without any logic, a succession of blurred cityscapes, fragments of streets and passers-by. He defines his style as are, bure, boke (raw, blurred, unfocused).

It may be remembered that a convention in Japanese painting, at least until the 17th century, was a form of perspective called “bird flight”, in other words from on high and slightly diagonally. This is the technique of fukinaki yatai (literally “roofless”). Houses without roofs were painted so as to make visible what was happening inside. This implies ambiguous compositions between the interior and the exterior, and between the foreground and the background. Progressively, under western influence, central (linear) perspective gained ground, while in western painting “Japanism” abolished any fixed point of view, which gave the spectator a “face-on” position to the canvas. And it also abolished the background. For Nishimura, this synthesis is disturbing, and it emphasises the effect of empathy which is brought into play, with these landscapes, animals and portraits. Because he has also associated the history of perspectives, like any individual in our digital age, with an image in motion. Perhaps he is putting us on the track of a “post-image”, so that we cannot know if it triggers in us a depiction, a memory, an appearance or a disappearance. The title of Yu Nishimura’s exhibition is Scene of Beholder. It is also a promise of his pictorial narrative.

Link: Yu Nishimura at Crèvecoeur

The post Yu Nishimura at Crèvecoeur first appeared on Contemporary Art Daily.

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Владимир Андриевский – украинский радиоведущий, телеведущий, ведущий мероприятий. Его голос является визитной карточкой множества реклам. Он – бренд-войс телепрограммы «Светская жизнь» с Катей Осадчей. А еще – сноубордист со стажем. Это все о нем, о красавце-мужчине Владимире Андриевском. from https://bit.ly/3ePEgDb https://bit.ly/2Uh2sF3

На сегодня эффективными мерами предосторожности от заражения коронавирусом считаются медицинские маски, антисептики и социальная дистанция. Ученые провели исследование, чтобы выяснить эффективность респираторов N95 c клапанами во время эпидемии коронавируса. from https://bit.ly/36svh6T https://bit.ly/35lk8p6

Ученых издавна интересуют способы продления жизни. К сожалению, волшебного эликсира долголетия нет. Однако есть доступные каждому средства улучшить здоровье и продлить жизнь. Одно из них – полезные продукты питания в рационе и исключение вредной еды. Недавно ученые выяснили, как употребление перца чили влияет на здоровье и длительность жизни. from https://bit.ly/2K0FXSR https://bit.ly/2UqpoBv

Artist: Julio García Aguilar

Venue: Parallel Oaxaca, Oaxaca

Exhibition Title: The possibilities of evil / Las posibilidades de lo malo

Date: October 11 – November 11, 2020

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Full gallery of images, press release and link available after the jump.

Images:

Images courtesy of Parallel Oaxaca, Oaxaca

Press Release:

Parallel /// Oaxaca is pleased to present The possibilities of evil an exhibition of new work by painter Julio García Aguilar. The exhibition questions the dynamics of power we encounter in our quotidian present and how individuals shape their experiences and imagination as emotional states, re-appropriating mundane images, allegories and clichés to re-use them as symbolic representational elements. 

Julio García Aguilar creates images reflecting on autobiographical situations and the material impact of his personal experiences of immigration, combining an on-going exploration on the forces of creation from the realities of contemporary life. His works embed vibrant color fields with a gestural style where subjects drawn from his immediate surroundings mix with Cartoon motifs, digital found imagery and complex political issues that evoke the local context through a critical examination.

First sketched on the canvas as loose narratives with an ambiguous relationship to power, the paintings of Julio García Aguilar distrust the stereotypes that simplify the representation of difference and perpetuate visions of colonialism, color and class divide and the institutionalized structures of inequity applied to territories.

Combining the ambivalent backdrops and the exotism that the westernized measuring of cartoon-inspired narratives create, along with modes of seeing inheritated from art historical lineages, the figures in Julio García Aguilar´s paintings challenge the logics of space and expand within restrained universes as live vegetation fluctuating within regenerative landscapes, which are not often represented in popular visual culture.

The possibilities of evil seek to translate Julio García Aguilar´s personal and communal experience of how rigid structures and architectural artifacts of estrangement and extraction shape the vibrancy and perception of current social realities, suggesting paths through the debris by an emotional desire leading for a new direction and movement within a shifting world.

Julio García Aguilar was born in Ejutla, Oaxaca in 1993, he lived his childhood and adolescence in Atlanta. His training in art is self-taught. He is founding member of YOPE ps, a project focused on the promotion local and foreign artists, dedicated to the exhibition and reflection of contemporary culture. His works have been shown at the Museo de Arte Carrillo Gil (Mexico City), Le Dernier Cri (FR), bbq LA (USA) and LADRÓN Galería (Mexico City).

Link: Julio García Aguilar at Parallel Oaxaca

The post Julio García Aguilar at Parallel Oaxaca first appeared on Contemporary Art Daily.

from Contemporary Art Daily https://bit.ly/36uywdY

Artist: L

Venue: Shoot the Lobster, Los Angeles

Exhibition Title: Facets of Being

Date: October 10 – November 11, 2020

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Full gallery of images, press release and link available after the jump.

Images:

Images courtesy of Shoot the Lobster, Los Angeles

Press Release:

Shoot The Lobster LA presents Facets of Being, a solo exhibition of eleven spells by the Los Angeles based alchemist L.

Facets of Being is the third in a trinity of exhibitions: Facets of Endarkenment at Stems Gallery Brussels – and Facets of Enlightenment at Marlborough Contemporary New York. The vessels and incantations of the previous shows addressed states of the individual and collective psyche in relation to transcendence.

These new spells link the astral, divine, and earth-bound realms. They primarily manifest material events and things related to the everyday needs and desires of being human. Some seem paradoxical at first glance. One spell for fullness, is full of empty bottles. Another for beauty and alchemical integration, is full of garbage that was gathered by L on a littered mountain trail. Every item that is placed into the vessels has a specific magical function, which often creates peculiar juxtapositions. Sometimes the materials are altered or charged in ritual before the spell is cast.

When the objects are combined into their respective microcosms, suspended in oil, they produce a cumulative energy that is greater than their individual essence. The floating vessels, in their unified configuration within the space, form an elliptical cycle that orbits around the body of the visitor. In the creation of these spells, L has drawn upon knowledge obtained from years of research and personal practice of folk and ceremonial magic, superstitious ritual, and esotericism.

L has held solo exhibitions at Martos Gallery, New York; Utah Museum of Contemporary Art, Salt Lake City; Marlborough, New York; Stems Gallery, Brussels; AND NOW, Dallas; JOAN, Los Angeles. Collective exhibitions include Getty Museum, Los Angeles; Five Car Garage, Los Angeles; CAPITAL, San Francisco; Lefebvre + Fils, Paris; Sariev Gallery, Bulgaria. Selected group exhibitions include Gagosian Gallery, Beverly Hills; Team Gallery, New York; Kerry Schuss, New York; Nicodim Gallery, Los Angeles + Bucharest; Venus over Los Angeles; Ellis King, Dublin; The Ghetto Biennale, Port-au-Prince. L’s work has been reviewed and written about in Frieze Magazine, Artforum, New Yorker Magazine, The New York Times, Los Angeles Times, and Spike Quarterly among many others.

Link: L at Shoot the Lobster

The post L at Shoot the Lobster first appeared on Contemporary Art Daily.

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Специалисты продолжают поиски секретов долгой и счастливой жизни. Увеличить ее продолжительность и сделать более приятной помогает правильное мышление, обнаружили исследователи. Нужно просто относиться ко всему с позитивом, уверяют они. from https://bit.ly/3kiyQ4z https://bit.ly/32yczcO