SMILJAN RADIĆ – SERPENTINE PAVILION 2014

Posted on 2014-06-24

Chilean architect Smiljan Radić is the fourteenth architect to accept the invitation to design a temporary Pavilion outside the entrance to the Serpentine Gallery in Kensington Gardens. His design follows Sou Fujimoto’s cloud-like structure which was visited by almost 200,000 people in 2013 and was one of the most visited Pavilions to-date.
Occupying a footprint of some 514 square metres on the lawn of the Serpentine Gallery, plans depict a semi-translucent, cylindrical structure, designed to resemble a shell, which rests on large quarry stones. This work has its roots in the architect’s earlier work, particularly The Castle of the Selfish Giant, inspired by the Oscar Wilde story and the Restaurant Mestizo – part of which is supported by large boulders.

The 2014 Pavilion is designed as a flexible, multi-purpose social space with a café sited inside. Visitors will be encouraged to enter and interact with the Pavilion in different ways throughout its four month tenure in the Park. On selected Friday nights, between July and September, the Pavilion will become the stage for the Galleries’ Park Nights series, sponsored by COS: eight site-specific events bringing together art, poetry, music, film, literature and theory and including three new commissions by emerging artists Lina Lapelyte, Hannah Perry and Heather Phillipson.

The fourteenth Serpentine Pavilion opens June 26th to October 19th, 2014

Serpentine Gallery
Kensington Gardens
London
W2 3XA

www.serpentinegalleries.org

  

KATRIN FRIDRIKS – FLYING AWARENESS

Posted on 2014-06-24

Inspired by the artist’s remote native land and a continuation of her experimental use of colour and liquid painterly movement.

Fridriks’ fiercely expressive multi-layered canvases take on a three-dimensional perspective, encouraging the viewer to seek out their own perception of the wildly suggestive works. Exploring both the micro and macro elements of the new heavily textural pieces, Fridriks has developed the meticulous production and conception of her spirited pictorial abstractions.

The new body of evocative work strives to create distance from the paintings themselves and instead highlight the audience’s own perception and imagination. Playing across a variety of media and fine-tuned technical execution, Fridriks explores the dynamics and emotional boundaries between herself and the viewing public.

Exhibition runs from June 27th to July 24th, 2014

Lazarides Rathbone
11 Rathbone Place
London
W1T 1HR

www.lazinc.com

  

KRIŠTOF KINTERA – NERVOUS TREES

Posted on 2014-06-24

“Nervous Trees” each consist of a substructure of branches on top of which sits a globe. The structure carries the sphere as though it were the body and the world its head. The upside-down branches are reminiscent of a system of veins or nerves in a biological organism. The installation’s individual pieces, which are up to three-and-a-half meters high, tremble at regular intervals according to a set logarithm, while the sound of the movement fills the space. It seems as though they have fallen victim to a nervous disorder, leading to their movements no longer being purposeful and keeping them on the spot, which makes it look as though they are performing a kind of dance.

The viewer looking at the “Nervous Trees” literally gains a different perspective onto planet earth. By breaking with ingrained viewing habits, Kintera is able to take a step back: The gap thus created provides space for reflection. The nervously twitching earth, wreathing and shivering as it sits on top of a system agonized through sensory overload, can certainly be understood as social criticism. Which is why it seems plausible to surmise that the artist calls our optimism concerning science and technology and society’s belief in progress into question. The “Nervous Trees” prompt us to think about the future of the Earth’s overly aggravated support system and in turn about the way in which we interact with our environment. Trees as “our planet’s lungs” constitute a fundamental, life-sustaining foundation which seems to have been thrown off kilter, endangering the Earth’s equilibrium in its shivering ballet.

Exhibition runs through to July 26th, 2014

Schleicher/Lange
Markgrafenstrasse 68
10969 Berlin
Germany

www.schleicherlange.com

  

CRISTINA DE MIGUEL – ABSOLUTELY YOURS

Posted on 2014-06-24

This show features the current series of De Miguel’s idiosyncratic paintings – at once sophisticated and disarmingly childlike, both formal and relaxed, and always steeped in humor and gesture. The title Absolutely Yours has the feeling of a heartfelt salutation as well as a sincere goodbye. The paintings are captured moments, ideas, and emotions, which can be seen in a similar light to a warm embrace and, at the same time, a tearful farewell. This non-linear (and sometimes ridiculous) quality of narrative in her work lends itself to an open-ended viewing. There is no absolute, no one particular way to view her paintings: they need to be explored and experienced. Each painting asks us (the viewer): discover me, engage with me, experience me, and feel me. The audience is invited to fill in the blanks. De Miguel’s imagery derives from her unique life, and through paint she presents painting as a celebration, and a viable lifestyle.

Her source material is defiantly autobiographical. Her painting Candy Saga feels like it was made on a subway platform in Chinatown. The black paint seems to be the same black paint used to paint the MTA’s large garbage receptacles (the ones that always seem to have a wet-paint sign attached). De Miguel captures this grittiness, this grim reality in a witty, mischievous, and untroubled way. The text in this painting states “Candy Saga In The Subway,” and there appears to have been a candy explosion. A little kid has thrown his skittles into the subway car, or college kids are stuffing their faces with jellybeans on the way home from a rave. Cristina distills this epic into something we can consume and be nourished from. She reminds us that our day-to-day commutes are filled with bizarre, amusing, and poignant moments.

Opposite – Lovestory, 2014

Exhibition runs through to July 12th, 2014

FREIGHT + VOLUME
530 W. 24th Street
New York
NY 10011

www.freightandvolume.com

  

PIERRE DORION

Posted on 2014-06-16

Dorion’s process begins by photographing a myriad of exterior and interior architectural elements that fascinate him. He then selects photos to translate into paintings, and through the use of light and the elimination of detail, creates highly minimal, and frequently monochromatic compositions. In a 2013 Artdaily.org interview, Dorion explains his recent work as follows: “In the last few years, I’ve worked extensively from photographs that I’ve taken in galleries or museums on various trips and that consequently include certain works or fragments of works. My preference is for formally spare, very minimalist works, in which the boundaries between architecture and the artwork fade away in the painting.” Dorion’s paintings are imbued with an uncanny emptiness that distills fragments of reality, drawing influences from the history of the medium to engage in a conversation on Minimalism and abstraction.

Dorion’s exploration of Minimalism in this exhibition of new paintings is twofold as he both depicts works by well-known Minimalist artists and renders architectural spaces using the Minimalist tropes of non-expressivity, expansive color fields and gradients, and stark geometry. His smaller works depict installations of purely Minimalist work. Untitled (FS), 2014, shows an exhibition space with works by Fred Sandback. More than a mere illustration these paintings blend the architectural minimalism of the exhibition spaces with the Minimalist artworks on display. This creates a composition in which figure-ground distinctions are flattened resulting in a melancholic mysteriousness. By breaking down the boundaries between art and architecture and quoting Minimalist tropes, Dorion’s paintings create a tension between what is apparent at first sight and what is obscured, and between the surface and depth of the work itself.

Exhibition runs through to July 25th, 2014

Jack Shainman Gallery
524 W 24th St
Chelsea
New York
10011

jackshainman.com

  

ERIC MCHENRY – THE TERRIBLE TUSK SHOW

Posted on 2014-06-16

Utilizing various found materials from notepads to letters to photographs, the artist has created a hybrid form of mixed media collage and illustration. Born out of a necessity to have mobile art materials; this style of creating work was the ideal solution for an artist balancing a career. Framed grids of memo pad illustrations expound on the repetitive and mundane nature of a conventional 9-5 job. Frenzied drawings of sculptures, caricatures and quotes offer a unique perspective into the mind of a bright and emerging artist. Traditionally working in monochromatic colors, these new works also introduce a broader use of color experimentation. The Terrible Tusk Show is an over the top expression of the artists’ free spirited lifestyle and venture into new mediums. A contemporary juxtaposition defined by a youthful generations desire to fuse any and every counter culture at their disposal.

Exhibition runs through to July 11th, 2014

Slow Culture Gallery
5906 N. Figueroa St.
Los Angeles
CA 90042

slowculture.com