art-agenda
December Round up
Out with the old and in with the new; we’ll spare you another one of those ubiquitous “top ten” lists. But if, in the lead up to the end of the year, you happened to have missed our last post of 2013, Vivian Sky Rehberg‘s special dual review of the concurrent exhibitions of Pierre Huyghe at Centre Pompidou and Philippe Parreno’s “Anywhere, Anywhere Out of the World” at Palais de Tokyo in Paris, it’s a fine read to ease back into things post-holiday.
There’s also a new dossier to peruse on both the art-agenda app and website: Dossier #2 Keren Cytter features an artist project by Cytter connected to her recent seven-part video cycle Vengeance (2012–13), here available as a movie-length compilation. This “able satire of American superficiality and ambition” is further discussed in a newly commissioned text, “Mean Girls: Keren Cytter and Vengeance,” by writer and co-editor of Afterall Melissa Gronlund, complete with specially selected GIFs drawn from Cytter’s work.
We’ll be kicking off 2014 with more special features (up next: Ben Davis on art and investment); a dispatch from Cairo about the city’s nascent gallery scene; the return of the “Rearview” column; and more. And as always, art-agenda’s regular exhibition reviews continue to highlight not-to-be-missed exhibitions worldwide.
Recently on art-agenda:
Pierre Huyghe at Centre Pompidou and Philippe Parreno’s “Anywhere, Anywhere Out of the World” at Palais de Tokyo, Paris
September 25, 2013–January 6, 2014/October 23, 2013–January 12, 2014
Vivan Sky Rehberg visits these two simultaneous mid-career retrospectives of French artists “at the top of their aesthetic game,” seeing “the extent to which Huyghe and Parreno’s artistic trajectories depart from shared associations, then intersect and diverge across a vast territory of common interests—cinema, architecture, travel, literature, education, public space, and cultural memory.”
Liam Gillick and Louise Lawler at Casey Kaplan, New York
November 1–December 21, 2013
Tyler Coburn finds that the paring of Liam Gillick and Louise Lawler—artists with certain affinities who have never shown together before—productively generated conditions for the artists to “look backwards and askance, mining their archives for oblique portraits of the museum and factory floors, fast inclining towards abstraction.”
IRWIN’s “Back to the USA” at Galerija Škuc, Ljubljana
October 15–November 3, 2013
Ljubljana’s Galerija Škuc first presented artist collective IRWIN’s exhibition “Back to the USA” in 1984. Alenka Gregorič considers the significance of its re-staging in 2013—and the exhibition’s exemplary relation to IRWIN’s practice in general. Thirty years after the collective was formed, she writes, their diverse output remains “one of the most socially engaged projects in Slovenia.”
Andy Boot at Galerie Emanuel Layr, Vienna
November 27, 2013–January 25, 2014
The walls of the gallery have been painted cosmic latte—”a hue astronomers ‘discovered’ by averaging all the light emanating from the stars of various galaxies.” Taking this color as a starting point, Aaron Bogart writes that Andy Boot’s exhibition “exemplifies an artistic practice that seeks to merge virtual and physical space and provides us with an appreciation of what is possible, viewing digital life along a continuum with the rest of it, pixels and all.”
Art Basel Miami Beach
December 5–8, 2013
“It’s a sad but true fact that it takes a cash-rich juggernaut like Art Basel to facilitate ambitious events and programming,” writes Karen Archey. Focusing on the discursive program undergirding this year’s edition, she considers the merits of the “vain, intellectual lubricant for the rash-inducing, transactional bacchanal that is Art Basel.”
Michael E. Smith at Clifton Benevento, New York
November 2–December 21, 2013
Stephen Squibb considers artist Michael E. Smith’s most recent solo exhibition at the “nearly empty” Clifton Benevento gallery, finding works that “reconfigure the raw material of memory in order to draw attention to the different ways we narrate our personal and collective history.”
“REMEMBER EVERYTHING: 40 Years Galerie Max Hetzler” at Galerie Max Hetzler, Berlin
November 10–December 21, 2013
“REMEMBER EVERYTHING” marks the fortieth anniversary of Galerie Max Hetzler and the simultaneous opening of two new spaces in Berlin’s Charlottenburg district. Kito Nedo wonders why, in celebrating such a storied and dynamic history, “the gallery’s presumably rich archives are conspicuously absent” from the exhibition.
María José Arjona’s “… pero yo soy el tigre” at galerie mor · charpentier, Bogota
October 27–November 22, 2013
This fall, a four-week-long, continuous performance by María José Arjona inaugurated the new Bogotá space of Paris’s galerie mor ∙ charpentier. Sophie Goltz reads the performance’s structure of accumulation and evaluation as a critical interlocutor to faith in Colombia’s economic growth, reflecting on the “abstract relationship between time and value in very different ways.”
Aura Satz’s “Color Opponent Process” at Paradise Row, London
November 1–December 6, 2013
The works in “Color Opponent Process” evidence a shift in the practice of London-based artist Aura Satz over the past two years into “new investigative territories,” writes Morgan Quaintance. Focusing on the story of Natalie Kalmus, “a color adviser on the majority of Hollywood’s Technicolor films from 1934–49,” the exhibition draws attention to a “female figure who has been overlooked in most male-dominated technological histories.”
Coming soon: reviews of the 2013 Carnegie International, Pittsburgh; Akram Zaatari at Thomas Dane Gallery, London; Thea Djordjadze at kaufmann repetto, Milan; Nina Beier at Croy Nielsen, Berlin; Tacita Dean at Marian Goodman, Paris; “Burn these Eyes Captain, and Throw Them in the Sea!!” at Rodeo, Istanbul; and many more.
Art-agenda’s exhibition announcement service distributes press information on select international exhibitions of contemporary art.
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