MAI-THU PERRET – PIÈCES ENFANTINES

Posted on 2020-09-07

The glazed ceramics created only this year, whose witty titles the artist borrowed from a Zen manual, are the result of Mai-Thu Perret’s direct physical interaction with the material clay, which in turn is based on a millennia-old tradition of craftsmanship. The wall objects show a relief-like tactile quality, resembling paintings in their nuanced colouring and hanging. With the work A
Russian Doll (2018), a three-part sculpture made of glazed ceramic, Perret negotiates the relationship between monumentality and the human body. She takes up a motif from folk art that traditionally recalls motherhood and reproduction; associations with sarcophagi or grave vessels could arise.

Opposite – In the end you cannot change the fact that ginger is hot, 2020

Exhibition runs through to November 6th, 2020

Galerie Elisabeth & Klaus Thoman
Seilerstätte 7
1010 Vienna
Austria

www.galeriethoman.com

  

CLAUDIA WIESER – LOBBY

Posted on 2020-09-07

In order to better understand Wieser’s work, one has to consider her four-year apprenticeship at the famous blacksmith’s workshop Bergmeister in Ebersberg, which she completed before taking up her studies with Axel Kasseböhmer and Markus Oehlen at the Munich Academy of Fine Arts. The workshop specialises in simple, early modern designs for clerical, cultural and political institutions. Wieser has never lost this connection to craftsmanship, in which pragmatic and artistic ideas merge (brought to perfection by the Bauhaus). With her, pedestals and mirror pieces, photo wallpapers, wall reliefs and podiums are always to be seen within a wider context, as elements in space that evoke a certain mood – and here we have come full circle, to Wieser’s long-standing work in the field of set design for film.

Opposite – Untitled, 2020

Exhibition runs through to October 2nd, 2020

Sies + Höke Galerie
Poststrasse 2+3
40213 Düsseldorf
Germany

www.sieshoeke.com

  

OSCEOLA REFETOFF – KINEMATIC EXPOSURES

Posted on 2020-09-07

The term Kinematic Exposure was coined by the artist to describe the handheld exposures he makes while moving about with a pinhole camera. Most of the images featured in this exhibition were all taken during a recent trip to Antarctica.

Osceola Refetoff’s images exist within traditional means – landscape, portraiture, editorial – and are variously produced using film, digital, infrared, and pinhole exposures, according to what best expresses the character of his subjects. Thus, despite his documentarian impulses and the fact that his images deliberately depict quite ordinary, even mundane, subjects, he trains on them a hyper-realistic and nuanced vision, often yielding surreal, even dreamlike images. His process generally happens “in camera,” at the moment of capture, in a kind of alchemical reaction that transforms the external world into something both unchanged and extraordinary, realistic and magical.

Opposite – Maximum Twilight, Antarctica, 2020

Exhibition runs through to October 30th, 2020

Von Lintel Gallery
1206 Maple Ave #212
Los Angeles
CA 90015

www.vonlintel.com

  

FRED PERRY X RAF SIMONS

Posted on 2020-09-07

Raf Simons has teamed up with Fred Perry to design a collection that pays homage to one of London’s most renowned music venues: the 100 Club.

Located in the heart of Oxford Street, the iconic basement club has played host to the likes of The Who, The Kinks, Sex Pistols, The Rolling Stones, The Clash and more.

To celebrate the venue’s rich history, Raf Simons — currently co-creative director of Prada — has reinterpreted classic Fred Perry pieces and infused them with the sensibilities of his eponymous line and decorated them with images from the 100 Club Stories book.

www.fredperry.com

  

PHEW – THE VOID

Posted on 2020-09-07

From the album Vertigo KO, out September 4th, 2020 on Disciples.

“This was recorded in 2019 at the request of the radio station WFMU in New Jersey, USA. They had compiled covers recorded today of tracks from 1979 debut albums and asked me to contribute, because Aunt Sally was released in 1979. Since the album with Ana had been released just a few months ago, I had chosen “The Void” from the first album of The Raincoats. I wondered how to install this song, recorded in 1979, into the 21st century. I wanted to represent a multi-layer time axis separated by forty years, considering the context of punk, post-punk and new wave. Specifically, the beat of this song uses a sequence of four slightly different tempo rhythms to create one groove.” – Phew

phewjapan.bandcamp.com