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Nathalie Djurberg and Hans Berg at Lisson
  Artists: Nathalie Djurberg, Hans Berg Venue: Lisson, London Exhibition Title: The Gates of the Festival Date: September 17 – November 1, 2014 Click here to view slideshow Full gallery of video, images, press release and link available after the jump. Video: Nathalie Djurberg and Hans Berg, installation video of The Gates of the Festival, 2014. Documentation video […]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

The Oxymoron of Normality at Depo Istanbul
The Oxymoron of Normality at DEPO Tütün Deposu Lüleci in Istanbul, Turkey, is an exhibition which brings together artists from ... Read full article here

George Clinton’s Journey to the Edge of Funk
George Clinton’s Journey to the Edge of Funk“If it weren’t for flashbacks I wouldn’t have no memory at all,” George Clinton said onstage Monday night at the Museum of the Moving Image, only half-jokingly. The mammoth leader of the Parliament-Funkadelic collective, who revolutionized not just what black music sounds like but how it’s presented and promoted and sold, is on the road slinging his new fiendishly-addictive memoir, “Brothas Be, Yo Like George, Ain’t That Funkin’ Kinda Hard on You?” the spinning-wheel tale of Clinton’s hedonistic days, from the creative hub of the barber shop to the futuristic funk of outer space. Following a screening of “Cosmic Slop,” a bizarre Twilight Zone-inspired HBO pilot (which never made it to series) produced and directed by Warrington and Reginald Hudlin and hosted by Clinton, the musician was interviewed onstage by James Mtume — a musical legend on his own, who played with Miles Davis on some of his most far out mid-’70s freak-outs. Clinton kept things light and the two yakked casually about all things P-Funk, or at least what Clinton could remember, from the early inspiration of Motown to its mutual embrace with hip-hop. The former provided the bedrock for Clinton’s expansive musical universe, and the latter, through its sampling of his bass heavy rhythms and reproduction of Clinton’s everybody-gets-their-shot-ethos — the Wu Tang Clan were mentioned as the most obvious decedents of this ideal — kept the spirit alive, long after Clinton and his cohorts had landed the Mothership on solid ground. The world of George Clinton can get a little confusing, even for the most fervent consumer of his music and mythology, so a bit of history might straighten out the kinks and help explain his legacy. George Clinton built an entire world. He began in the early days of soul music, the rise of Motown, and had a few mildly successful singles as a songwriter and performer, some under the name The Parliaments. This was the heyday of independent labels, especially in Detroit, where Clinton had migrated from New Jersey, but a foot in the door didn’t immediately materialize into success. According to legend, after dropping acid The Parliaments morphed into Funkadelic, infusing British Invasion-style heavy guitars and deep, Sly and the Family Stone-influenced funk, and would release a startling number of albums that are still today some of the most earth-shattering records ever created. Just listen to the first track on “Maggot Brain” and try to find anything as mind-altering, scary, and transcendent as Eddie Hazel’s shape-shifting guitar solo, an array of cries and whimpers blasting out of an amplifier that sounds like the music you’ll hear as the world is finally coming to an end. In reality, it was the sound of a new world beginning. Soon the ideas bursting out of Funkadelic were too large to be contained, and a second band was created. Parliament was the flashier, more commercial version of Funkadelic with cleaner sounds, sing-along chants, and a wilder stage presence. The band was already tight, with the classically trained Bernie Worrell on keyboards and Hazel on electric guitar, but soon they would acquire most of James Brown’s former backing band, The J.B.’s. All of a sudden Clinton had the funkiest band in the world behind him. Bootsy Collins and his brother Catfish, who had been recruited by Brown after he suddenly fired his former band, The Famous Flames — and played on what this writer believes is the greatest Brown album of all time, “Love Power Peace” — became permanent staples in the P-Funk universe, along with Fred Wesley, Maceo Parker, and more. Soon enough, it was like a football team on stage, each one dressed in a unique costume, most of them playing characters that were weaved in and out of songs and whose backstories were expanded through the wild cover art of Pedro Bell. And finally, when it seemed that this band of freaks couldn’t get any more out-of-this-world, they literally had a full-size space ship made that descended onto the stage during their sets. The universe would expand even further, with many of the side-players getting their own bands and solo albums, filtered through their personalized version of the P-Funk aesthetic. But as the 1980s reared its ugly head, the group began to disassemble. Clinton, for his part, had gone too far off into space. No longer just a casual user of drugs, he now, according the book, was smoking crack regularly and not paying attention to the crumbling world he built. Money was disappearing and nobody knew where it was going. By the ’90s, despite a few remarkable solo albums and a hit single with “Atomic Dog,” Clinton was burned out. Drugs were not heavily discussed during Monday’s talk, but in his memoir Clinton is not shy about his chemical intake. He did enough drugs to kill an entire army it seems, and one of the most surprising parts of the book is how this narrative thread creeps up on you. The stories at first are fun and exciting, the joys of being young and popular with dollars in your pocket. You can’t blame a person for partaking in a little bit of the era’s most cherished recreational activities. But soon enough, without Clinton’s tone changing, the drugs become more and more of a presence, or rather, their presence becomes more and more of a problem. People start to fall off the map. Clinton buys a farm, simply, it seems, as a place to do drugs and escape. He begins hanging out with Sly Stone, one of his idols, which is never a good idea. At the age of 73 it’s amazing that he can still walk on two feet, let alone crank out albums. So, to answer the question of the book’s title: Yes, the funkin’ was hard on George Clinton. But it did not kill him. He will continue to survive long after his body dances off this mortal coil, through the music he created, the characters he put out in the world, and most importantly, the inspiring model he laid down for other black artists to explore the furthest boundaries of their art. Break down the walls, or as Dr. Funkenstein would say, tear the roof of the sucka.  Published: October 28, 2014 Read full article here

Slideshow: Chris Ofili’s Romance With Paint (and Glitter and Dung)
Language English Featured: 0Order: 0Author(s): Benjamin ParkSub-Channels: MuseumsReferenced Artists: Chris OfiliShort Title : Slideshow: Chris Ofili’s Romance With Paint Read full article here

BLOUIN Lifestyle Pick: Rock-and-Roll Vintage Accessories
Language English Featured: 0Order: 0Author(s): Michelle TaySub-Channels: Style GuideShort Title : BLOUIN Lifestyle Pick: Edgy Vintage Accessories Read full article here

Pierre Huyghe at Hauser & Wirth
Artist: Pierre Huyghe Venue: Hauser & Wirth, London Exhibition Title: IN. BORDER. DEEP Date: September 13 – November 1, 2014 Click here to view slideshow Full gallery of images, press release and link available after the jump. Images: Images courtesy of the artist and Hauser & Wirth. Photos by Hugo Glendinning. Press Release: Hauser & Wirth is excited […]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

Bacon Foundation Opens, Picasso’s Photos Hit Gagosian, and More
Bacon Foundation Opens, Picasso’s Photos Hit Gagosian, and More— Bacon Foundation Opens: Just in time for the artist’s birthday (October 28, 1909), the Francis Bacon MB Art Foundation, a nonprofit institution dedicated to researching the life and work of the artist, opens today in Monaco with an inauguration by Prince Albert. Founded by property developer and philanthropist Majid Boustany, it will house 2,000 Bacon-related items, from artworks to furniture. Though the Foundation will now be open to scholars and art historians, it will open to the public (by appointment) in March 2015. [Art Daily, Artnet] — Picasso’s Photos Hit Gagosian: Picasso biographer John Richardson, along with Gagosian Gallery directors Valentina Castellani and Michael Cary, has organized “Picasso & the Camera,” featuring 40 paintings, 50 drawings, and notably, around 225 of the artist’s photographs, opening today at the gallery’s West 21st Street location. “It’s proved much more complex, fascinating and eye-opening than I’d ever imagined,” Richardson said. Though this marks the biographer’s fifth Picasso-related exhibition with the gallery since 2009, it’s one of the first to branch away from the subject of the artist’s wives and muses — because, according to Richardson, “I’d run out of women.” [NYT] — Helly Nahmad’s Modigliani: Philippe Maestracci, the heir of an antiques dealer whose works were taken by the Nazis, has tracked a Modigliani that belonged to his grandfather to a corporation with ties to Helly Nahmad. Maestracci is alleging that the company is a shell for the Nahmad family’s collection and is pursuing court action to get the painting back. The Helly Nahmad Gallery isn’t having it and said that it “lacks any interest whatsoever in this controversy and lacks any authority or capacity to remedy any injury allegedly suffered” in a court filing. [WSJ] — Paris’s Evolving Art Scene: While Buttplug-gate rages on in the French capital, the Times has a look at how the Paris art scene is shifting from public to private funding. [NYT] — A Parade of Prizes: The Fondation d’Entreprise Ricard has awarded its 2014 Prix d’Entreprise Ricard to sculptor Camille Blatrix; the 2014 Moran Prize has gone to Louise Hearman; and filmmaking collective Abbounaddara was won the Vera List Center for Art and Politics Prize. [ARTnews, The Guardian, NYT] — Collector Tips: Here’s a look at how to get an art-backed loan from Forbes. [Forbes] — With Jeff Koons finally gone from the Whitney, you may need help processing your five stages of grief. [FirstThings] — Here’s your one stop shop for FIAC sales reports. [Art Market Monitor] — Apparently, Pharrell Williams never made it to the toy show he guest-curated at Toronto’s Design Exchange. [WSJ] Published: October 28, 2014 Read full article here

The Eighth Season of The Artist’s Institute
Artists: Pierre Huyghe, Fernando Ortega, Pierre Joseph, Camille Henrot, Ryan Gander, Fabien Giraud and Raphaël Siboni, Jean Painlevé, Jean-Daniel Pollet, Jana Winderen, Sean Raspet, Etienne Chambaud, Ian Cheng, Martin Roth, Karl Sims, Melissa Dubbin & Aaron S. Davidson, David Horvitz, Angelique Corthals, Vincent Normand, Jenny Jaskey, Alex Kitnick, Tom McDonough, Liam Gillick, Sinziana Ravini, Julieta Aranda, Lynne Cooke, […]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

Fixating on Futurity: 5 Works at the Montréal Biennial
“The future doesn’t mean so much to us,” says a British retiree in Emmanuelle Léonard’s 2014 video “Postcard from Bexhill-on-Sea.” Situated within this year’s Montréal Biennial, on view at the city’s Musée d’art contemporain and various other venues, the piece fits in perfectly (although somewhat drearily) with the exhibition’s theme, “L’Avenir (Looking Forward).” In thinking about the future-centric exhibition, it’s hard not to comment on just how many art shows lately are taking on the subject of futurity. Earlier this year, I visited the Yerba Buena Center for the Arts’ “Dissident Futures,” which looked to artists for ideas about our future in the tech-laden Bay Area milieu. And last week, during the Montréal Biennial’s opening festivities, Okwui Enwezor announced that his Venice Biennale would focus on “All the World’s Futures.” With the remarkable amount of energy swirling around artists’ visions of the future, the Montréal Biennial provided some fantastic entry points into the topic. Not all the works are as explicitly future-focused as Léonard’s (many of them are about looking back at moments of looking forward), but a great deal tackle issues of the economy, the environment, and technology. Almost all of the work in the biennial also revealed a very heavy emphasis on research-based projects — a characteristic particular to Montréal, according to executive and artistic director Sylvie Fortin. With outlooks both bleak and bright, here are five artists from the show, all featured at the Musée d’art contemporain, who stood out. Emmanuelle Léonard The aforementioned video work of Montreal-based artist Léonard is juxtaposed in the show with another 2014 video piece about the elderly, called “La Providence.” While “Postcard from Bexhill-on-Sea” focuses on a retirement community in the UK, “La Providence” takes Montréal’s aging community of proselytizing Grey Nuns as its subject. While most the seaside residents have a pessimistic outlook on the future (“Not very good, actually”; “I think the future won’t be as good as when I was young”; “Grim, very grim”), the nuns have a calm and confident optimism (“Change is a good thing”; “I feel good”; “We still have a lot of work to do”). In both works, the audio is layered with serene shots of the British seaside or the quiet interiors of the nuns’ apartments — a visual and aural experience that is quite moving. Among the significant amount of video work in the show, other particularly good pieces included Li Ran’s “Pretty knowledge” (2012), Susan Norrie’s “Rules of Play” (2009-13), and Skawennati’s “TimeTraveller™” (2008-13). Read our interview with Léonard here. Arctic Perspective Initiative (API) Comprised of artists Matthew Biederman and Marko Peljhan, API has put together an installation of seven works at the Musée d’art contemporain de Montréal that illustrate the projects they do far outside of a museum context. Working in the Arctic, the duo — which defines API more as a working group than an artist collective — has collaborated with indigenous peoples as well as scientists and other artists to foreground the region. One such project is the “Phoenix Declaration,” a document drafted during an open-space conference that asserts the importance of both the Arctic region and the cultures that live there. Also on view are a Common Data, Display and Processing Architecture device; a traditional kallitaq sled dwelling; and an early drone — all field tools hand-built by the pair.  Read our interview with API here. Suzanne Treister Treister’s “HEXEN 2.0” (2009-11) takes the form of two giant marker-on-wall diagram drawings as well as 78 smaller pieces (drawn from details of the larger diagrams) that form a set of trippy tech-y tarot cards. Treister filters the history of cybernetics into the divinatory template of tarot and in the process constructs a truly revelatory suite of works — the fun is trying to trace a line between Margaret Mead, transcendentalism, drones, telepathy, and Ken Kesey. Read our interview with Suzanne Treister here. Andrea Bowers In her “Courtroom Drawings” (2014), artist, activist, and Native Ohioan Bowers filled three walls with supersized cell phone screen drawings that present texts exchanged between the convicted rapists, Jane Doe, and other figures from the Steubenville Rape Case. Handwritten by Bowers and two others as they were read aloud in court, the texts are disturbing evidence not just of a violent crime in small town Ohio, but also of the way that rape culture is deeply embedded in our society. Read more here. Klara Hobza For her ongoing project “Diving Through Europe” (2010-present), Hobza scuba dives in the dirty, industrial waters of cities across the region and records her experience via an underwater video feed as well as second hand documentation from above the water. Going below with her into dark, trash-ridden waters of places like the Hook of Holland, for example, is bizarre and at times terrifying. She bumps into rocks, ascends or descends abruptly, and sometimes crawls out of shallow embankments like a Creature From the Industrial Polluted Lagoon. Hobza’s project is not just wacky; it is also quite dangerous at times. Twice she is pulled into the turbulence of a shipping container — encounters that easily could have ended her life. Hobza is working her way from the North Sea to the Black Sea — an expedition she expects to take decades. The Montréal Biennial is on view through April 1, 2015. Fixating on Futurity: 5 Works at the Montréal BiennialSelect Photo Gallery: Slideshow: Highlights from Montréal Biennial 2014Published: October 28, 2014 Read full article here

Christopher Williams at MoMA
Artist: Christopher Williams Venue: MoMA, New York Exhibition Title: The Production Line of Happiness Date: July 27 – November 2, 2014 Click here to view slideshow Full gallery of images, press release and link available after the jump. Images: Images courtesy of the artist and the Museum of Modern Art, New York Press Release: The Museum of […]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

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