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Slideshow: In Typical Parisian Fashion, FIAC Shines With Easy Elegance
Language English Featured: 0Order: 0Author(s): Benjamin ParkSub-Channels: FairsShort Title : Slideshow: FIAC Shines With Easy Elegance Read full article here

Protecting Hong Kong Protest Art, Basel's College Class, and More
Protecting Hong Kong Protest Art, Basel's College Class, and More— Protecting Hong Kong Protest Art: As democracy protests in Hong Kong stretch into their fourth week, more and more street art is being generated in the main camp (which NPR dubs the “Woodstock on the South China Sea”). Local museums, however, have refused to be proactive in helping preserve the works — which range from posters to sculpture — leading supporters to fear that the police may destroy them while clearing out protest sites. “This is the largest social movement Hong Kong has seen and now the most urgent [matter] is to rescue these objects for future research,” said artist Wen Yau. [South China Morning Post, NPR] — Art Basel’s College Class: In conjunction with London’s Central St. Martins School, Art Basel will launch Hong Kong’s first course in art collecting at the HKU SPACE Centre for Degree Programmes next March. “As the art world becomes larger and people become more serious about collecting, it is important to discuss the ground rules — and the responsibilities that come alongside,” said Art Basel director Marc Spiegler. Titled “Collecting Contemporary Art,” the eight-day intensive will culminate, fittingly, in a tour of Art Basel Hong Kong. [TAN] — Kevin Rudd Heads the Asia Society Policy Institute: Kevin Rudd, Australia’s former prime minister, has been appointed to lead the Asia Society’s latest initiative: the Asia Society Policy Institute, described as “a new kind of think tank on the rise of Asia,” based in New York and Washington. Rudd explained that he was attracted to the post because the institute promises to be “not just a think tank but a think-do tank — the do part is how we add value.” [NYT] — Guggenheim Helsinki Designs Submitted: In anticipation of the forthcoming Guggenheim Helsinki, the Manhattan museum has made the first round of designs for its new location available to view online; the shortlist will be announced on December 2, and the winner will be chosen in June 2015. [Press release] — Jim Chanos Disses the Art World: Hedge fund manager Jim Chanos called the art world “socially acceptable conspicuous consumption,” adding, “I think it’s a market that studies have shown correlates more with income inequality than general economic growth.” [Art Market Monitor] — “#Sandy” Photographs Published: iPhone photographs of Hurricane Sandy helped raise $19,000 when shown at Foley Gallery in 2012, and now, those photos are poised to become a book, titled “#Sandy,” on the two-year anniversary of the storm. [Art Daily] — “I want this experience like anybody else. I am part of the problem.” – Marina Abramovic on participating in the sensory deprivation of her upcoming show at Sean Kelly Gallery [ARTnews] — According to census data, most people who make a living from their art are white. [Washington Post] — Buffalo’s Albright-Knox Museum announced its first expansion in 50 years. [TAN] ALSO ON ARTINFO 6 Must-See Gallery Shows in Brussels Joan Jonas’s “Light Time Tales” at HangarBicocca Auctions in Brief: London Instagram Takes the Stage at Cincinnati’s FotoFocus Biennial Check our blog IN THE AIR for breaking news throughout the day. Published: October 22, 2014 Read full article here

Yuji Agematsu at Artspeak
Artist: Yuji Agematsu Venue: Artspeak, Vancouver Exhibition Title: CARETAKERS Date: September 13 – October 25, 2014 Click here to view slideshow Full gallery of images, press release and link available after the jump. Images: Images courtesy of Artspeak, Vancouver Press Release: CARETAKERS 1 Waste in the city is like an ocean, a perpetual tide of narratives and references […]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

6 Must-See Gallery Shows in Brussels
You really don’t need to sleep: post-Frieze and pre-FIAC, why not ride the high-speed Eurostar to Brussels and take in these exhibitions? Mark Leckey at WIELS, through January 1, 2015, Av. Van Volxemlaan 354A noisy, confounding, chockablock extravaganza, “Lending Enchantment to Vulgar Materials” incorporates sculpture, video, appropriation, enormous Felix the Cat inflatables, droning sound-systems, and much more. There are videos of faux-conferences the artist has given, like “In The Long Tail,” a brilliant, oblique satire of Wired magazine honcho Chris Anderson’s “long tail theory” that also sends up the entire TED Talk aesthetic in general. Leckey scrambles historical eras (and the division between authentic and fake), and satirizes himself and the art world without ever seeming to be anything but enamored with the creative potentials of both.  Ayan Farah at Almine Rech Gallery, through November 12 (Abdijstraat 20 rue de l’Abbaye)These abstract paintings made using mud, clay, and the effects of rainwater conjure different imagery, from bleached or tie-dye-style stains to curliques of smoke. Sometimes the sewn-together compositions are as graceful and subtle as Agnes Martin, but Farah also isn’t afraid to let the field of raw, muted color be interrupted by what appear to be tire tracks. In an adjoining gallery, Piero Golia provides a nice and artificial counterbalance to Farah’s incorporation of the natural world, showing a series of enormous painted-foam works that resemble sci-fi space rocks. Lesley Vance at Xavier Hufkins, through November 15 (6 rue St-Georges)The American artist is a master of graceful swoops and streaks, pushing and pulling paint to create abstract still life scenarios. A series of new oil-on-canvas works from 2014 are complemented by a handful of watercolor-and-gouache studies. Filip Gilissen at Meessen De Clercq, through October 25 (2a Rue de l’Abbaye)You enter a portal covered with cheap, gold-colored filament, then find yourself disoriented in a darkened chamber full of the stuff. Muddle your way deeper through the party-store strands and emerge in a strange, circular room, where an enormous golden rack of T-shirts awaits, each one bearing the words “Just Keep Living.” This young artist manages to stage a minor spectacle with very modest materials (but do try not to get lost). Elsewhere in the gallery are solo presentations of sculptural work that recontextualize ordinary things: Coins; smartphone SIM cards (Tania Perez Cordova); Katinka Bock (a trio of lemons resting on a metal beam). Elaine Cameron-Weir and Aleksander Hardashnakov at Galerie Rodolphe Hanssen, through October 25 (Rue de Livourne 35 Livornostraat)Canadian-born, Brooklyn-based Cameron-Weir showcases bronze sculptures of Fruit Salad plants (bearing the wonderful technical name of Monstera Deliciosas), the bright metal stalks rising from uneven, rough-hewn hunks of marble. Hardashnakov’s small group of mixed-media paintings are also oddly stunning: Quick, sketchy compositions (sexualized horse-people; a young boy with a fox; a duck nearly subsumed by a black background) are paired with larger works whose framing devices are totally out of whack, like “Dead Elephant in the back of a truck,” 2014, a small graphite drawing of the titular subject tacked to an enormous bare wood panel.    Dominic Samsworth at Mon Chéri, through November 8 (67 Rue de La Regence)Barebones abstraction crashes up against a world of idle leisure, with shaped canvases depicting the geometry of pools (made using pool paint) arrayed around a massive sculpture: Recreational furniture shrink-wrapped in a white plastic skin, resembling a bleached, beached whale left to die. ALSO WORTH SEEING: Louise Lawler’s “No Drones,” and “Whether(Weather),” a collaborative show between Catharina van Eetvelde and Stéphane Sautour, both at Galerie Greta Meert through November 8. 6 Must-See Gallery Shows in Brussels Select Photo Gallery: Slideshow: 6 Must-See Gallery Shows in BrusselsPublished: October 22, 2014 Read full article here

Gerhard Richter at Marian Goodman Gallery London
Marian Goodman inaugurated her London gallery with an exhibition of new and recent works by Gerhard Richter. The show features ... Read full article here

Instagram Takes the Stage at Cincinnati’s FotoFocus Biennial
When considering the state of modern photography, it’s difficult to ignore (as much as one might want to) one of its most prevalent quotidian forms: Instagram, the ever-updating photo gallery lodged in just about everyone’s pocket. So, in organizing his program for Cincinnati’s 2014 FotoFocus Biennial, artistic director Kevin Moore decided to embrace the trend head-on with “Fotogram@Arthub,” an Instagram-based exhibition dictated by the hashtag #FotoFocus2014. Though bolstered by 20 dedicated “Fotogrammers” — prominent biennial guests and members of the local arts community who were tasked with uploading at least two tagged pictures per day — the show also allowed for visitor participation. During the biennial’s opening weekend, a rotating stream of the 100 most recent #FotoFocus2014 images were broadcast on various LCD flat-screens at locations throughout the city, including the 21c Museum Hotel and bars Japp’s Since 1879 and Neon’s Unplugged. As its name suggests, the exhibition’s primary venue was the Arthub, a temporary structure that biennial organizers had commissioned earlier in the 2014 planning process from Cincinnati-based architect José Garcia, and which proved to be a fitting place to host a show of this theme. “It had to look temporary but feel very present,” Garcia said of the white tent-like cube that sits in Cincinnati’s Washington Park, through November 1. “In a few weeks, everything goes away — which is pretty much the idea of Instagram.” Moore concurred, noting that Instagram represents “a sort of ephemeral platform — a new space in the world for viewing photography, instead of the gallery wall or the museum wall.” And still, that’s where today’s artists seem intent to bring it — from local Cincinnati gallery Photosmith, whose FotoFocus satellite show consists of prints made using the Hipstamatic app, to Richard Prince’s Instagram-based “New Portraits,” which are causing a stir at Gagosian (Jerry Saltz dubbed them “genius trolling”). “Fotogram” could easily be accused of having done the same — taking the app’s traditional handheld stream and putting it in the context of an exhibition — yet the real-time “last 100” nature of its featured photos acted as a constant incentive for participants to keep posting, proving it as much a social experiment as a visual exhibition. “This is how social media works, and we’ll see what happens,” Moore said. So what did happen, exactly? Well, approximately 1,200 photos, for a start. From basic pictures of photographs at FotoFocus exhibitions to a handful of Vivian Maier–esque selfies in reflective surfaces, the feed underscored not only the use of Instagram photos as proof of one’s presence at an event, but also the participants’ desire to express their personal take. (Moore seemed a bit surprised that the feed was occasionally hijacked by galleries or companies for blatant self-promotion — but of course, it’s also worth noting that the tag itself denotes at least some level of new-media branding for the biennial.) On Saturday evening of the biennial’s opening weekend, after the experiment had some time to unfold, three of Moore’s “Fotogrammers” — Nion McEvoy, CEO of San Francisco’s Chronicle Books; Haviland Argo, a Louisville-based architect; and Ivan Shaw, photography director at Vogue — participated in a panel to discuss their Instagram experiences. Naturally they touched on the hot-button issues of selfies and oversharing (“Were we all narcissistic to begin with and it’s just easier to express now?” Shaw wondered, rhetorically), and also tended to agree on the app’s myriad limitations. Shaw was quick to note that it leads to a “squaring of the world,” imposed by its even-sided cropping constraints, and the stringent Facebook-based content rules — far more severe than other photo-sharing sites such as Flickr and Tumblr. (Any hint of nudity, for example, incurs a suspension.) When it came to the matter of young Instagram celebrities and/or Prince’s Gagosian series, however, opinions became more tangled and a few lingering questions emerged: Does Instagram encourage appropriation, or is it all just clever manipulation of images? Is it dominated more by skillful photography or simply by a reflection of popular trends? And what will be the long-term effect on the world of professional photography when an entire generation grows up with cameras and Hipstamatic filters at their fingertips? Of course, while the panel took place, the #FotoFocus2014 stream scrolled past on the wall behind the speakers, and by the end of the hour, there were several cheekily snapped shots of the discussion in the mix. At one point, an image of Shaw recognizing his own image behind his head was then projected behind him — a reminder of the app’s instantaneous documentary powers, as well as its users’ seemingly endless zeal. Indeed, though “Fotogram@Arthub” proper closed after the opening weekend, the #FotoFocus2014 hashtag powers on, accruing images daily — as does its ever-addictive platform. Instagram Takes the Stage at Cincinnati’s FotoFocus BiennialSelect Photo Gallery: Slideshow: Fotogrammers Take Over FotoFocus 2014Published: October 21, 2014 Read full article here

Slideshow: 6 Must-See Gallery Shows in Brussels
Language English Featured: 0Order: 0Author(s): Regina MogilevskayaSub-Channels: GalleriesShort Title : 6 Must-See Gallery Shows in Brussels Read full article here

Slideshow: Must-See Gallery Shows in Brussels
Language English Featured: 0Order: 0Author(s): Regina MogilevskayaSub-Channels: GalleriesShort Title : Must-See Gallery Shows in Brussels Read full article here

VIDEO: Frieze Masters Highlights 2014
VIDEO: Frieze Masters Highlights 2014A tour of this past weekend's Frieze Masters—the Frieze spinoff that mixes every era up to 2000—with Art + Auction Magazine's editor, Sarah Hanson. Published: October 21, 2014 Read full article here

Joan Jonas’s “Light Time Tales” at HangarBicocca
At age 78, Joan Jonas is having a banner year. Earlier this month, the innovative video and performance artist opened a wide-ranging survey, “Light Time Tales,” on view through February 1 at Milan’s HangarBicocca. Owned by the tire manufacturer Pirelli, the dramatic exhibition space occupies a former factory that once produced railway cars, industrial machinery, and, yes, airplanes. More than 20 works by Jonas, mostly multi-channel installations, occupy a sprawling 43,000-square-foot gallery with soaring ceilings — and no interior walls. Jonas’s first retrospective in Italy, the well-timed show serves as a stunning and lyrical introduction to her work. Just a few months after it closes, the artist will represent the United States at the 2015 Venice Biennale “Light Time Tales” is a tour de force, cementing Jonas’s reputation as a restless artist who defies easy categorization. The massive exhibition, curated by Andrea Lissoni in close collaboration with Jonas, is a work of installation art in and of itself. Jonas reimagines her pieces each time they are presented, making this show a surprising encounter for even the most seasoned viewer. Even though she is typically historicized as an artist whose experimental works sprang from her studies in sculpture and engagement with film, she proves herself a master of the theatrical mise-en-scène. In the open exhibition architecture, the viewer is encouraged to be distracted by other works and to move at will. With only freestanding projections, clusters of props, and monitors, the show allows contemplation of Jonas’s evolving methods of presentation as well as her enduring themes. For example “Double Lunar Rabbits,” 2010, mounted on specially designed curvilinear screens, echoes the animal-centric theme of a neighboring video created for the show, “Beautiful Dog,” 2014. At the same time, installations are displayed with a discrete, immersive experience in mind. “Revolted by the Thought of Known Places…Sweeney Astray,” 1992/1994, a series of videos created with a Dutch theater company based on a medieval Irish epic, invites viewers to circle around and between projections. “Mirage,” 1976/1994/2005, brings together elements like performance stills, props, and former standalone videos, like “Good Night, Good Morning” of 1976 and a tape documenting a trip down a Berlin road, into a new constellation examining the artist’s themes of that decade: the phenomenological aspects of videomaking and the construction of female identity. For all its curatorial risk-taking, “Light Time Tales” equally considers the history of evolving technology. Two of Jonas’s early, excellent filmed performances — “Wind,” 1968, one of her first works to utilize mirrors, and “Songdelay,” 1973, an early filmed performance with dancers and props in desolate downtown Manhattan — are presented as large projections. Vintage monitors show a pared-down selection of single-channel videos from the 1970s. These include “Paul Revere” of 1971, a collaboration with the Minimalist artist (and Jonas’s former husband) Richard Serra that painstakingly dissects the logic of the proposition “one if by land, two if by sea,” and 1972’s groundbreaking “Vertical Roll,” which shows Jonas’s body seemingly fragmented in front of the formal device of rolling videotape. However, what makes this curatorial endeavor so special is not its reverence for the formal evolution in Jonas’s work, but rather its willingness to support the artist’s anti-formalism. That’s not to say that this work is iconoclastic. In fact, it’s quite the opposite. For Jonas, the objects of her work, like the ancient myths she draws upon, are so ripe — so alive — with possibility that rather than being static holdings, they are pieces of a score always ready to be tweaked, revised, and reanimated. (It’s no coincidence that “Reanimated,” her most recent installation based on the animistic themes of the book “Under the Glacier,” includes footage from a piece she made in the 1970s.) Standing in the middle of Jonas’s retrospective, distinct themes and gestures repeat from work to work. Elongated cones, circular shapes, and poles and sticks mimic and extend the body; drawings index performative gestures; mirrors create complex relationships between site, performer, and viewer; masks indicate transformation and ritual; animals and nature become objects of awe. Props, which can so often feel superfluous in visual art, here take on a shamanistic significance, acting almost as sentient beings in Jonas’s improvisatory interactions with them. Jonas often speaks of playing with “distance,” in the theatrical sense, between artist and viewer. This exhibition masterfully shows how that proposition can work in space. Among Jonas’s works there arise moments of conversation, confrontation, and accord, newly staged and directed by the artist. The viewer is but one lucky player.  Joan Jonas’s “Light Time Tales” at HangarBicoccaSelect Photo Gallery: Slideshow: Joan Jonas's "Light Time Tales" at HangarBicoccaPublished: October 21, 2014 Read full article here

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