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The Kitchen Presents: An Evening with Cinema16

by Amanda Schmitt on July 3rd, 2012

June 26, 2012 New York, New York

Inspired by an Oliver Sacks lecture on hallucinations and perception, Molly Surno brought four delightfully abstract films to her ongoing experimental film series, Cinema 16, at the Kitchen on this Tuesday evening, leaving an entire theater-full of guests bug-eyed and awe-jawed.  To add to the experience, she invited musician and composer Matteah Baim to imagine an original soundtrack for the screening, adding another dimension of emotionality to the atmosphere, and creating an unlikely collaboration between artists who will never meet. The works span over the course of almost an entire century, from 1924 to 2010, all running on a 16-mm projector (Bravo Kitchen!). Continue Reading More »

Kinematic Thursdays: Behind the Sounds

by Charlie Schroder on July 2nd, 2012

Piet-Jan van Rossum with Paul Clipson (Photos by Louie Metzner)

Subtwine – Entwine’s speakeasy-like downstairs space that has hosted musical-artists-in-residence such as Toucan (as profiled in the New York Times), video art exhibitions curated by CoWorkers Projects— for a limited time is home to the West Village’s only ongoing experimental sound art event, KINEMATIC Thursdays. Presented by Yulia Topchiy of CoWorker Projects, Kinematic Thursdays is curated by Helen Homan Wu of Opalnest. This is such a unique series of events blending video art, experimental music and sound art that I asked Helen for a bit of the backstory.


Heike Baranowsky 'Monfahrt' (courtesy of Galerie Barbara Weiss, Berlin)

Helen founded Opalnest to provide exposure for artists — artists who work with time-based media — that do not necessarily fit into the typical art gallery structure here in the U.S.  She explains that in European cities like Berlin, interdisciplinary contemporary art such as sound art is a robust, thriving genre regularly reviewed and written about by theorists in the same manner of the traditional fine art disciplines of painting or sculpture. Continue Reading More »

documentO @ Krowswork–Oakland, CA

by Aaron Harbour on June 30th, 2012

Entrance to Krowswork, with Carrie Hott's 'Blackout Means Black'

all photos courtesy Krowswork Gallery 2012

Friday, June 22, 2012 saw the opening of DocumentO, an extremely ambitious project at Krowswork Gallery in Oakland, California.  It was organized by its Director, Jasmine Moorhead. Operating under the guise of an unofficial satellite show to dOCUMENTA (13), the massive, 100-day exhibition held every five years in Kassel, Germany, the show at Krowswork is a brief (July 1 close) overview of the art scene in Oakland. It has been noted that ‘no one likes these things when they happen’, but judging by early reviews, dOCUMENTA’s main curator, Carolyn Christov-Bakargiev, has put together a stellar show. Continue Reading More »

Interview with Claudia Altman-Siegel (of Altman Siegel Gallery, SF)

by Aaron Harbour on June 15th, 2012

For the first in a random series of interviews with galleries in the Bay Area, Aaron Harbour interviewed Claudia Altman-Siegel of  Altman Siegel in San Francisco. They show a wide ranging roster of artists, including Matt Keegan, Emily Wardill, Trevor Paglen and Will Rogan. Their current exhibition of Nate Boyce, ‘Knockdown Texture’, closes this week.  Their next show features guest curator David Berezin with work by Nicolas Ceccaldi, Kate Owens, Jonathan Horowitz, Eric Sidner and Kirsten Pieroth. It opens June 28th. The conversation began with a particular exhibition and then expanded to examine her practice, both as an aesthetic/conceptual enterprise and as business.
AH: Curating has been something that I stumbled into within the last couple of years. I curate with my partner – who was in the Curatorial Practice program at CCA.  We don’t really see ourselves as dealers,  [so] I don’t really know much about that end of the profession. I see this interview as helping me learn something but also to create a sort of dialogue and shed some light on what gallerists do.
I have been coming here for a while now and I’ve liked a lot of the exhibitions here. A while back I wrote a review on the Fran Herndon show
CAS: Yeah, I saw that. Thank you.
AH: I was curious as to how that show came about.
CAS: I was approached to do that exhibition by Lee Plested and Kevin Killian. Kevin and Fran have been friends for many, many years. He’s a poet and she’s been involved in the poetry scene in the Bay Area for a long time – they had gotten to know each other through a Jack Spicer biography that Kevin had written, which Fran had a big part in. Both Lee and Kevin know that Fran has a huge archive of works from the ‘60s all the way to now and were looking for a place to exhibit them. They had put together a proposal and asked me if I was interested in her work. Continue Reading More »

PINTA 2012 – Perfect timing in London

by Artcards Review on June 4th, 2012

Johanna Unzueta, 21 Faucets, 2010, Felt and thread, 150 cm x 300 cm, Courtesy Vogt Gallery, New York

PINTA Art Fair opens this week in London. Although a relatively new fair with six previous editions, PINTA offers a concentration and breadth of Latin American art without rival in London.

This year promises to attract a particularly large crowd as it falls between the Queen’s celebrations and Art Basel Switzerland. Artcards London will be at the fair and keep you updated on the most interesting events.

For the full schedule visit pintaart.com.

arteBA: Great Art in Buenos Aires

by Morgan Croney on May 29th, 2012

There is a lot to be learned from the 21st edition of arteBA in Buenos Aires.

1. One art fair at a time can be a good thing.  In contrast to art fair weeks with multiple, concurrent art fairs, arteBA held the spotlight with no competing fairs, which led to an intimate and enjoyable experience for collectors. The city of Buenos Aires offers plenty to capture your mind and eyes, including: Fundación Proa, an amazing contemporary art museum; Museo de Arte Latinoamericano de Buenos Aires (MALBA), a must-see for Latin American art; Museo Nacional de Bellas Artes, a survey of international art; and many sights of the city like Cementerio de Recoleta and Centro Cultural Recoleta. Given this full agenda of sights to see, not having to worry about multiple fairs frees you to enjoy everything the city has to offer at an enjoyable pace.

2. Surrounding events enrich the experience. The 98 galleries showing at arteBA gave collectors an expansive look at Latin American artwork and a great opportunity to get a good deal; additionally, surrounding events organized by the fair with local spaces added energy and enrichment to the experience.

3. A dynamic art scene lives in Buenos Aires, Argentina. Local spaces in Buenos Aires range from institutions like MALBA and PROA to lively artist residencies like Boulogne Sur Mer Art-Bulding. Nascent galleries with international vision are beginning to take hold. For example, Peña Galería recently opened a beautiful space in Recoleta. Make sure to map their address before visiting, as the underground space is hidden behind a nondescript wood-paneled door. The gallery features emerging artists and organized a show in New York City earlier this year. Rounding out the scene, established galleries display interesting works, most notably at Ruth Benzacar Gallery.

4. There is much great Latin American art to be seen. Below are some quick pictures from the events.

arteBA Fair Opening Night

Continue Reading More »

IN PROTEST at Berkeley Art Museum

by Aaron Harbour on May 8th, 2012

I am excited about the potential of In Protest, an event organized in tandem by the Kadist Art Foundation and the Berkeley Art Museum/Pacific Film Archive, to be held Wednesday, May 9th at 7pm.

Artists have been asked to design posters with a specific or abstract political message to be given away at this one night event. The list of artists includes many whom I instantly associate with politically charged practices such as Rigo 23, Martha Rosler, and Natasha Wheat and many whose posters may help recast their interests in a more political light.

The artists are Zarouhie Abdalian, John Baldessari, Amy Balkin, Dodie Bellamy, Charlie Dubbe, Amy Franceschini, Doug Hall, Kevin Killian, Paul Kos, Tony Labat, Shaun O’Dell, Rigo 23, Piero Golia, Jordan Kantor, Martha Rosler, Allan Sekula, Mungo Thomson and Natasha Wheat.

Questions of art praxes’ political potentials and limitations are constantly swirling, all the more so in these highly charged times of active protest movements. The world has yet to come to terms with the revolutions recently transpired or those still afoot. And the future is less than settled in nations whose ‘completed’ revolts in the Arab Spring have left them in a terrible and dangerous state of flux. A military government is still in control of Egypt and in advance of elections, vying political factions are falling victim to massacres such as the one in Cairo on May 2nd.  Closer to home (and much tamer despite the press’ over emphasis on its outlying criminal element) we have our local Occupy, revitalized in its May Day general strike. In each of these protests and in the more everyday ones (usually in the grand tradition of labor struggles, but also against abortion and pro or against various political personalities and parties) the arts play a major role, both as means of message production (signs, banners, et al.) and as a foothold for giving the myriad people some cohesiveness (ex. the various strains of music performed and DJed).

During a March 31st talk at the Kadist curator Nato Thompson, whose excellent exhibition Living as Form is about to finish its satellite run in SF, discussed various ways in which art could engage with a wider audience, purpose and potential, noting (I’m paraphrasing) the worst thing we could do is commission a bunch of posters. But is such a curatorial proposal so untenable? In the introduction to Dorathea von Hantlemann’s excellent How to Do Things With Art (2010), she describes her theme as, “How does art become politically or socially significant and what preconditions must be fulfilled in order to enable artworks to attain such significance?”

In Protest will raise these questions anew, confronting Thompson’s challenge and interrogating Hantlemann’s question. Each artist will address both the specific audience in attendance and the vitality of their medium (the poster and art as a whole) in the context of the museum and the wider political conversation. And we,  the viewers,  will walk away with works of art.