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An Evening "Close Up" with Leila Heller at Southampton Arts Center - August 22, 2014
25/08/2014
Language English Featured: 0Order: 0Tags: PartiesArt PartiesAuthor(s): Benjamin ParkSub-Channels: PartiesGalleriesShort Title : An Evening "Close Up" with Leila Heller Read full article here

AR: Merlin Carpenter at Overduin & Co.
25/08/2014
Artist: Merlin Carpenter Venue: Overduin & Co., Los Angeles Exhibition Title: DECADES Date: June 8 – July 12, 2014 Click here to view slideshow Originally Posted: July 8th, 2014 Note: This entry is part of August Review, our annual look back at this season’s key exhibitions. For more information, see the announcement here.   Contemporary Art Daily is produced by Contemporary Art […]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

Zaha Hadid Sues NYRB for Defamation, 5Pointz Demolished, and More
25/08/2014
Zaha Hadid Sues NYRB for Defamation, 5Pointz Demolished, and More— Zaha Hadid Sues NYRB for Defamation: Zaha Hadid has filed a suit against the New York Review of Books and its architecture critic, Martin Filler, for accusing her of “showing no concern” about worker deaths in Qatar. The article in question examines Hadid’s comments that architects "have nothing to do with the workers" and the hundreds of deaths that have occured on construction projects in the Gulf state, where her Qatar World Cup stadium is now going up, within a review of Rowan Moore’s “Why We Build.” "Nearly all of those references are used to call our client's success into question or to characterize her personally as difficult," Hadid’s lawyer Oren Warshavsky said in a statement. “It is a personal attack disguised as a book review and has exposed Ms. Hadid to public ridicule and contempt, depriving her of confidence and injuring her good name and reputation.” [The Guardian] — 5Pointz Demolition Begins: 5Pointz is finally gone. Demolition on the building complex began Friday and, according to a statement by owner David Wolkoff to DNAinfo, will continue for the next three to four months. He also verified that demolition would begin at the back of the building, working its way towardsJackson Avenue. [DNAinfo] — Missing Brooklyn Bridge Flags Returned to U.S. Embassy in Berlin: The American flags that were removed from the Brooklyn Bridge and replaced with white ones in a controversial July 22 art project by artists Mischa Leinkauf and Matthias Wermke have been turned over to the United States embassy in Berlin. Though many suspect the act was politically charged, or even a security threat, the artists told the New York Times’s Michael Kimmelman in an interview it was to honor the 145th anniversary of the death of John Roebling, the bridge’s designer. The NYPD has yet to make a decision about charging the artists with felony burglary. [NYT] —  Swedish Art Gets Six Months: Swedish artist Dan Park has been sentenced to six months in jail for “defamation and inciting hatred against an ethnic group.” [The Guardian] — Monkey Selfies Can’t be Copyrighted: An official decision by the U.S. Copyright Office has officially declared that it “will not register works produced by nature, animals, or plants” meaning that photographer David Slater can’t claim the rights to that monkey selfie. [Slate] — Is this the Art Market’s Golden Age?: Scott Reyburn investigates “the unstoppable momentum of the globalized art market” and how unstoppable it really is. [NYT] — A $25.4 million earmark on Massachusetts Governor Deval Patrick’s recent capital facilities bond bill has given Mass MoCA the funding it needs to finish renovations on the museum. [NYT] — The Iraqi National Museum, which was looted in 2003 during the U.S. occupation of the city, has reopened to inaugurate two renovated halls. [AP] — After all the merger hooplah, visitors can now go the Corcoran Gallery of Art for free. [WashPo] ALSO ON ARTINFO Generation Next: Joshua and Sonya Roth Collect With an Eye Toward the Future Dealer's Notebook: Jack Shainman Introducing Danna Vajda Check our blog IN THE AIR for breaking news throughout the day. Published: August 25, 2014 Read full article here

Robert Heinecken at Wiels
25/08/2014
Artist: Robert Heinecken Venue: Wiels, Brussels Exhibition Title: Lessons in Posing Subjects Date: May 16 – August 17, 2014 Click here to view slideshow Full gallery of images, press release and link available after the jump. Images: Images courtesy of Wiels, Brussels. Installation views by Sven Laurent. Press Release: Although he rarely used a camera, Robert Heinecken (1931–2006) is widely […]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

Introducing Danna Vajda
25/08/2014
Introducing Danna VajdaWriting as reverberations of underground explosions echo throughout Doha—the soundtrack to the birthing
of a city—I recall how a recent Skype conversation with the Brooklyn-based artist Danna Vajda concluded on Le Corbusier’s Chandigarh. The artist’s reference to the French architect’s utopian social project in India resonates with her long-term preoccupation with subversive politics of space and economics that control our access and understanding of public and private space. Raised in Vancouver, Vajda, the daughter of an architect, advocates for urban planning and construction to consider civic necessity at its conception. Yet she is at odds with activism as artistic practice, preferring to make objects, installations, trompe l’oeil paintings, and scripted performances that tease out signifiers of the social and economic structures among which we live. Because these objects have no use and deal only with the politics related to their own materiality, the
work maneuvers toward resistance
to a commodity-obsessed art world only to reveal a series of façades. In Anewwork, 2011, produced for a show at SculptureCenter in New York, the artist propped a glass door, a glass storefront window, and a blank canvas against the gallery wall. Together, they suggested the vapid emptiness of consumption and challenged expectations of monetary exchange and circulation. Vajda’s use of materials like glass, marble, and textiles speaks to the fiscal and
social value of building-material aesthetics, as well as an acknowledgment of the
real estate industry as one puppet in the capitalist theater. Her materials gesture at the charged histories of class economies. Silk and marble, for example, speak to the longevity and authority of bourgeois taste. “The perfect simple silk blouse and yeah, you’ve fucking arrived!” she says, tongue in cheek. Questions specific to the architecture of control and private property unspool in a recent project: upagainstacurtainwall, 2013. In this installation a black silk dress, an image of an empty storefront printed on silk, and ATM receipts painted on silk mark the space for the performance
of a script. Real estate developer Bob Rennie’s controversial proposal for a satellite Vancouver Contemporary
Art Museum is transferred from a PDF to a Word document, in turn redistributing punctuation and formatting to create a shell of the script, I HAVE READ, UNDERSTAND, AND ACCEPT THIS AGREEMENT. Your signature, 2013. It was first performed by Vajda at CSA space in Vancouver in 2013 and read, per her instructions, “in the context of the opening while wearing the dress made from storefront curtain.” Replacing the words occupants with non-occupants and Vancouver with vacant city from Rennie’s original text, Vajda also embedded fictional characters, to create, as she describes it, “a collage of legal, official, and personal testaments to the internalization of a city and its property relations.” Reading the script as written, with its exaggerated pauses and unorthodox punctuation, Vajda delivered a Dadaist performance of dry-witted contradictory references and wordplays on the economies of real estate, time, work, and individuality. Vajda enacts the linguistic and aesthetic devices of marketing to explore the construction of myths that deviate from collective desire. In a performance of thewateringhole at Franklin Street Works in Stamford, Connecticut earlier this year, Vajda mixed eight whiskey cocktails with items including chewing gum and marbles, reciting the recipes as part of monologues that revealed themselves as resignation letters. The work mocks the revival of craft aesthetics—in this case, artisanal liquor—a nostalgic yearning for alternative, DIY forms of production. She considers this performance as a way to exaggerate and critique excess and aspiration as characteristics of an overly success-driven workforce. The artist explains her interest in the notion of “toxicity as a stoppage of the efficient body”: being intoxicated as a way to escape regulated forms of labor. The artist herself plays the role of a cocktail bartender in this setup, which is one example of what she calls “performing a dual sense of existence.” Vajda occasionally adopts the vocation of cocktail bartender to literally and conceptually feed her life and work. Objects, ideas, and Vajda’s own life form webs of temporal economies, erasing distinctions between physical and imagined modes of regulation. Capitalism’s cycles of boom and
bust are the trope Vajda deploys as she collapses and recomposes its signifiers in the same way the structure consumes itself for rejuvenation. The subtitle
of upagainstacurtainwall makes clear the giving and receiving imbued in the work: “A curtain printed with real estate
is the artist’s new dress. A hand that gives, once tilted, is the hand that asks. The paper trail of ATM receipts leads to a silk road, or a pit of tears.” Her work also contemplates the possibility of individuality, even as our habits of thought, action, work, and consumption are highly choreographed. “While there is a collective ‘we’ struggling within or against capitalism, my
struggle is of course different to that of everyone else,” she states, underscoring the point that “these differences are
what allows me to cope with the world
and feel like a protagonist; however, it is the same individuation which obscures that with which I struggle.” The performance miko1,2,3, 2012, is about
our personal relationship with capitalism, and trying to locate sanity and difference within ready-made individualities.
Three oil-on-canvas paintings of the April 2006 Artforum cover featuring Christopher Williams’s photograph Kodak Three
Point Reflection Guide (Miko laughing) are held to cover the faces of three characters who read a script about how they “use their face, form, and language as a method of social and economic mobility.” Vajda employs scriptwriting and prose as “a means of address that positions the listener to the text, just as architecture can shape one’s movements in a place.” She will once again investigate the performance of “dual existence” and the shifting terrain of the real estate business in “Placeholder,” her show with Cara Silk Benedetto at Toronto’s Art Metropole, which opens September 3. The project delves into individual and collective claims and desires for space. Vajda and Benedetto have collaboratively written a script that instructs them to perform various characters—including, per an exhibition spoiler, Couch Surfer, Narcy, Renter, Guest, Masoch and Gatekeeper—and to make objects for and during the exhibition. Enhancing the experience of seeing double, it is highly likely that whiskey cocktails will be served.A version of this article appears in the September 2014 issue of Modern Painters magazine.   Published: August 25, 2014 Read full article here

14 Rooms: Interview with Performer Fabienne Meier
25/08/2014
Fabienne Meier was one of the performers in Laura Lima’s performance piece MAN=FLESH/WOMAN=FLESH — FLAT, 2012. In this interview, she ... Read full article here

Louis Vuitton Acte V Collection
25/08/2014
Language English Featured: 0Order: 0Tags: Louis VuittonAuthor(s): Sonia Kolesnikov-JessopSub-Channels: Jewelry & WatchesLifestyleShort Title : Louis Vuitton Acte V Collection Read full article here

Week in Review: August 24, 2014
24/08/2014
Welcome to Week in Review, our Sunday round-up of the last seven days of activity here at Contemporary Art Daily. Please subscribe to our RSS feed, follow us on Twitter, follow us on Tumblr, and become a fan on Facebook. We would like to extend a special thank you to our annual sponsor, NADA. Founded […]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

AR: Stewart Uoo at Daniel Buchholz
24/08/2014
Artist: Stewart Uoo Venue: Daniel Buchholz, Berlin Exhibition Title: No Tears in Rain Date: March 21 – April 23, 2014 Click here to view slideshow Originally Posted: April 17th, 2014 Note: This entry is part of August Review, our annual look back at this season’s key exhibitions. For more information, see the announcement here. Contemporary Art Daily is produced by Contemporary Art […]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

“Ruffneck Constructivists” at Institute of Contemporary Art
24/08/2014
Artists: Dineo Seshee Bopape, Kendell Geers, Arthur Jafa, Jennie C. Jones, Kahlil Joseph, Deana Lawson, Rodney McMillian, William Pope.L, Tim Portlock, Lior Shvil, Szymon Tomsia Venue: Institute of Contemporary Art, Philadelphia Exhibition Title: Ruffneck Constructivists Curated by: Kara Walker Date: February 12 – August 17, 2014 Click here to view slideshow Full gallery of videos, images, press […]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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