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London
14/07/2015
Language Undefined Location Website: http://www.npg.org.ukLocation Email: archiveenquiry@npg.org.ukDisplay: Don't displayUse alternative description in place of "Hours" (Edit text below): Directions: Address: Javascript is required to view this map.Neighborhood: Central LondonLocation Phone: +44 20 73122463:primaryAdmissions: FreeCollections: 17th to 21st Century portraitsHas Cafe: Has Store: Has Film: Is Free Listing: Opening Hours Alternative Text: Monday to Wednesday 10AM to 6PM<br />Thursday and Friday 10AM to 9PM<br />Saturday and Sunday 10AM to 6PMlocation fax: Guide Landing page: Region on the Guide Landing page: None Read full article here

Paola Pivi at Emmanuel Perrotin
14/07/2015
Artist: Paola Pivi Venue: Emmanuel Perrotin, Paris Exhibition Title: Yee-Haw Date: June 4 – August 1, 2015 Click here to view slideshow Full gallery of images, press release and link available after the jump. Images: Images courtesy of Emmanuel Perrotin, Paris Press Release: “Yee-Haw,” Paola Pivi’s ninth exhibition at Galerie Perrotin in the last fifteen years, introduces a […]Contemporary Art Daily is produced by Contemporary Art Group, a not-for-profit organization. We rely on our audience to help fund the publication of exhibitions that show up in this RSS feed. Please consider supporting us by making a donation today. Read full article here

Rachel Harrison at Regen Projects
13/07/2015
Artist: Rachel Harrison Venue: Regen Projects, Los Angeles Exhibition Title: Three Young Framers Date: June 6 – July 18, 2015 Click here to view slideshow Full gallery of images, press release and link available after the jump. Images: Images courtesy of Regen Projects, Los Angeles. Installation photos by Brian Forrest.  Press Release: Regen Projects is pleased to present Three […]Contemporary Art Daily is produced by Contemporary Art Group, a not-for-profit organization. We rely on our audience to help fund the publication of exhibitions that show up in this RSS feed. Please consider supporting us by making a donation today. Read full article here

Marc Quinn: The Toxic Sublime at White Cube
13/07/2015
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Les 10 plus belles robes de mariée des défilés haute couture automne 2015
13/07/2015
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Mumbai
13/07/2015
Language Undefined Location Website: http://www.gallerychemould.comLocation Email: gallerychemould@gmail.comDisplay: Don't displayUse alternative description in place of "Hours" (Edit text below): Directions: Address: Javascript is required to view this map.Neighborhood: Greenwich VillageLocation Phone: +91 22 22000211:primaryAdmissions: Collections: Has Cafe: Has Store: Has Film: Is Free Listing: Opening Hours Alternative Text: 11am - 7pm (Mon - Sat)location fax: ; +91 22 22000213:faxGuide Landing page: Region on the Guide Landing page: None Read full article here

Bruguera's Passport Returned, USC Dropouts Get Gallery Show, and More
13/07/2015
Bruguera's Passport Returned, USC Dropouts Get Gallery Show, and More— Bruguera’s Passport Returned: After months of detainment in Cuba, artist Tania Bruguera has finally gotten her passport back from the authorities. Bruguera was originally prevented from leaving her home country in December 2014 for trying to stage a public performance piece with strong political overtones, and has since continued to protest and spread word about her situation. And still, she’s not leaving yet: “My argument has never been about leaving Cuba; my argument is about working so there is freedom of expression and public protest in Cuba,” she said in a statement. At the very least, Bruguera is insisting that she won’t go until she signs legal documents that guarantee her ability to return. [TAN] — USC Dropouts Get Gallery Show: In May, all seven students in the MFA class of 2015 at University of Southern California’s Roski School of Art and Design made headlines when they dropped out collectively to protest changes to their program — and now, they’re back together again, in a group show at LA’s Park View. “They didn’t have studios; they were all sort of atomized,” said gallery director Paul Soto. “So I thought it would be a good time to consolidate in one space — in this intimate space — ideas that they may have been working on. It’s about returning to life in a way, returning to their practices.” Ellen Schafer, one of the artists, added: “We want to return to the conversation but not as a hashtag, not as USC7.” [LAT, AiA] — Court Orders Gurlitt Psych Evaluation: A psychiatric evaluation has been ordered on the deceased German collector Cornelius Gurlitt, following a court challenge on whether the recluse was well enough to draw up his own will. Just months after authorities discovered the illicit collection of more than 1,200 European masterworks amassed by his father under Nazi rule in his Munich apartment, the 81-year-old died, leaving his paintings to Kunstmuseum Bern in Switzerland. His cousin Uta Werner is challenging this testament. Still, either way, both parties promise that the art looted by the Nazis will be restituted to the heirs of the Jewish owners. The evaluation is not expected before October. [AP] — Met Makes a Statue Speak: After a 15th-century marble statue of Adam crashed to the floor of the Metropolitan Museum of Art in October in 2002, the work has come to life as an interactive video installation at the Venetian Sculpture Gallery. The gregarious statue employs the same technology found in computer-generated characters in movies like “The Lord of the Rings” and “Avatar.” Meanwhile, over in Paris, an interactive Mona Lisa is also coming to life with digital technology. The digital Mona Lisa paintings will be sold for “a few hundred euros,” some embedded on a pendant or jewels. [WSJ, NYT, Telegraph] — UNESCO World Heritage List Grows: “The threat is global and our response must be global,” said UNESCO’s director-general Irina Bokova at the World Heritage Committee. “It requires better co-ordination among national services, the exchange of information among states. Nothing can replace, in this area, the action of governments.” The committee also adopted the Bonn Declaration, which condemns “the destruction and looting of cultural objects used as a tactic of war and as a source to fund terrorism.” [TAN] — Detroit Gets Outdoor Sculpture Center: A sculpture park in Detroit’s Midtown neighborhood has opened on formerly vacant lots restored by the artist Robert Sestok. “I’ve wanted for a long time to do something that would be lasting,” the 68-year-old said. “Then my neighbor who used to cut the grass here died, so I started. I got the idea that this would be a good location for an art park, and who needed one more than me.” [NYT] — After source at the Smithsonian disavowed Bill Cosby’s now-proven history of sexual assault last week, the museum has officially announced that it will keep the actor’s collection: “First and fundamentally, this is an art exhibit. So it’s not about the life and career of Bill Cosby. It’s about the artists,” said Richard Kurin, the Smithsonian’s undersecretary for art, history, and culture. (Also, in case you’re having trouble keeping track, here’s a list of just who is standing by Cosby and who isn’t.) [WP, Guardian] — “We’re too old for Brooklyn,” said Daniel Buchholz of his forthcoming gallery. “We’ve snuck into the Upper East Side.” [Artnet] — Here’s outgoing National Gallery head Nicholas Penny’s rant on phone-toting teenagers taking up bench space intended for the elderly. (You’re welcome.) [Telegraph] ALSO ON ARTINFO Q&A: Phil Collins on His Feature-Length Homage to Glasgow Subterranean Homesick Blues: Michael E. Smith at SculptureCenter VIDEO: Anthony McCall's Notebooks and Duration Drawings Check our blog IN THE AIR for breaking news throughout the day. Published: July 13, 2015 Read full article here

Group Show at Francesca Pia
13/07/2015
Artists: Thomas Bayrle, Lucky DeBellevue, Stephane Dafflon, Fabrice Gygi, Tobias Madison, Ana Pellicer, Mai-Thu Perret, Stefan Tcherepnin, John Tremblay, Aldo Walker, Juan Jose Gurrola Venue: Francesca Pia, Zurich Exhibition Title: Group Show Date: July 24 – August 21, 2015 Click here to view slideshow Full gallery of images and link available after the jump. Images: Images courtesy […]Contemporary Art Daily is produced by Contemporary Art Group, a not-for-profit organization. We rely on our audience to help fund the publication of exhibitions that show up in this RSS feed. Please consider supporting us by making a donation today. Read full article here

Shepard Fairey y D*Face en CACMálaga
13/07/2015
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Subterranean Homesick Blues: Michael E. Smith at SculptureCenter
13/07/2015
Subterranean Homesick Blues: Michael E. Smith at SculptureCenterThe feeling is familiar to anyone who has wandered Bruce Nauman’s crepuscular basement installations: an enveloping subterranean environment in which one hovers between subject and object. But Michael E. Smith, who has taken over the basement of Long Island City’s SculptureCenter for “-” (the show’s title is a single hyphen), is a much less obvious artist than Nauman. Not to mention born of an entirely different context: Smith’s machinic macabre is an art that despairs in its own objecthood, a gigantic air-brake on the shiny, techno-fetishistic accelerationism that seems to dominate the art of the moment. Here is a partial inventory of objects one encounters in the exhibition, Smith’s first major solo show at an American museum: a pair of rocking chair rockers, a Nintendo GameCube affixed to a dolly, a video monitor playing low-fi footage of a piston in motion, a Jacuzzi tub pierced by two crossed sections of plastic tubing, and, most disconcerting of all, a cartoony, flesh-colored plastic mask arrayed over what appears to be a taxidermied black Labrador’s head. Sparsely distributed in the labyrinthine underground space, these abject things coexist with ribbed tubes and cones installed by the New Hampshire-based artist throughout, haunting the gallery like the domestic relics of a post-industrial Minotaur. The pairing of the figurative and organic with the machinic and technological is here more than just mere weirdness for weirdness’s sake — what one critic has called Smith’s practice of placing “odd objects in odd places.” It can be read instead as an antidote to the sleekness of recent art dealing with subjectivity and technology. Few works exemplify this tendency more than the DIS collective’s “The Island,” a hybrid kitchen/bathroom installation commissioned from a high-end home design firm that was a centerpiece of the New Museum’s last triennial. Where DIS’s elaborately conceived domestic luxury toys are perfect, gleaming commodities, clinical devices yearning for an escape velocity from the unruly body and the systems which govern it, Smith gives us a darker, slower vision. “[D]ecelerated and slackened until they reach a trancelike state,” as a wall text puts it, Smith’s found sculptural objects, which he acquires by scouring eBay, return the technological to its constituent parts, a sort of tragic objecthood imbued with function and meaning only by human mediation. In so doing, the artist proposes a way out of a kind of rote technological determinism. After all, machines, like objects, are never truly autonomous: their existence is contingent upon subjective effects — and affects. Michael E. Smith’s exhibition “-” is on view at the SculptureCenter through August 3.  Select Photo Gallery: Michael E. Smith at SculptureCenter Published: July 13, 2015 Read full article here

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