Halloween comes to life in a brand-new comedy adventure based on R.L. Stine’s 400-million-selling series of books. This time two young friends find a magic book that brings a ventriloquist’s dummy to life.
In theatres October 19th, 2018
TweetA recurring subject in Nathan Hylden’s paintings is the artist’s studio, his studio specifically, as seen in his last exhibition at Art : Concept in 2014. Through the history of the modern painting, the artist’s studio has developed as a signifier of the superiority of creative activity by the representation of its trivial realities. Seen as what might be the first tautological figure in the rhetoric of art, the artist’s studio as subject can be a site where the myth of the artist is at once invoked and deconstructed.
Hylden’s new paintings depict crumpled balls of paper on the studio floor, like castoff ideas. The crumpled paper balls, repeatedly photographed, are pure pretext for formal experiments using light effects and cast shadows, duplication, notions of emptiness and fullness, painting and luminous effects, in an exercise of sublimation which, since Vermeer, can be seen as a waste object.
Opposite – Untitled, 2018
Exhibition runs through to November 17th, 2018
Art : Concept
4, passage Sainte-Avoye
Access: gate at 8, rue Rambuteau
75003 Paris
France
The road has been a central motif in the work of Robert Adams since the beginning of his life as a photographer, and 27 Roads is the first exhibition to focus on this fundamental aspect of his work. Whether concrete highways, quiet cuts through dark forests, paved commercial strips or dusty tracks on a clear-cut mountainside, Adams’ roads serve as thoughtful metaphors for solitude, connection or freedom.
The exhibition features photographs from Adams’ most well-known and treasured series dating from 1968 to 2013, including The New West, Denver, Prairie, From the Missouri West, California, Listening to the River, and An Old Forest Road. Over many years of exploring this theme, Adams has been drawn to writers who contemplate the symbolism of the road, and the potential of any neglected dirt road or byway to be a place of value. Among the poets who inspired Adams are Wendell Berry, who wrote in The Timbered Choir: “There is a day/when the road neither/comes nor goes, and the way/is not a way but a place.”
Opposite – Along Federal Highway 287. North of Laporte, Larimer County, Colorado, 1977
Exhibition runs through to October 20th, 2018
Fraenkel Gallery
49 Geary Street
San Francisco
94108 CA
An acute visitor will notice that the coloured arc on the exterior façade of the gallery – entitled “Double rainbow” –, which marks the beginning of the exhibition doesn’t assume the Parnassian dimension that it would seem to incarnate. Indeed, we are first challenged by the barbed wire pattern that forms these chromatic arcs. Then, an addition of interrogations linked to the notion of identity burst in while the visitor realizes that these iron brambles are painted from the tip of the artist’s fingers as he meticulously affixed his fingerprints next to each other. If the mathematical sense of identity is defined by two confounded elements that nothing can dissociate, contemporary societies more often prefer the antonymic definition referring to what differentiates and separates us from each other. These are the same societies in which each fingerprint ends up opening this or that access, this or that door but can also be used to identify a Human being and define his freedom and even sometimes his destiny. If the rainbow metaphorically expresses for some the symbol of the alliance between God and men, the artist’s interpretation seems to underline the profound antagonisms in which Humanity often dives into and of which the barbed wire are the sad material evidence.
Opposite – Tableaux, 2014-2018
Exhibition runs through to November 17th, 2018
VNH Gallery
108 rue Vieille du Temple
75003 Paris
France
The current exhibition continues McMillan’s interest in the fundamental properties of photography. While the new work appears to be paper sculpture or even trompe l’oeil, it actually manifests what McMillan calls “the invisible space” of photography. These works are not intended to be considered photographs of another object, or even contain subject matter. In flattening the existing three-dimensional space to two-dimensional, McMillan believes that “the camera is used to reduce the space only; there is no subject matter except space – the camera has no other function, except to add its own particular kind of unique space to this already abstract spatial problem.”
Opposite – Untitled (Black and White with Tear), 2017
Exhibition runs through to October 13th, 2018
Craig Krull Gallery
2525 Michigan Avenue
Building B-3
Los Angeles
90404 CA
