1. grupaok:

    Instalação de Cinthia Marcelle, “Sobre este mesmo mundo”, 2009-2010

    Six drawings from Marcelle’s OPINIÃO³ series appear in the upcoming Wattis Institute exhibition Many Places at Once, opening April 17.

    (Source: noelbsb.blogspot.ca)

  2. Robert Heinecken: Object Matter, Museum of Modern Art, New York, March 15-September 7, 2014.

    Heinecken described himself as a “para-photographer” because his work stood “beside” or “beyond” traditional notions of the medium. He extended photographic processes and materials into lithography, collage, photo-based painting and sculpture, and installation. Drawing on the countless pictures in magazines, books, pornography, television, and even consumer items such as TV dinners, Heinecken used found images to explore the manufacture of daily life by mass media and the relationship between the original and the copy, both in art and in our culture at large. Thriving on contradictions, friction, and disparity, his examination of American attitudes toward gender, sex, and violence was often humorous and always provocative.”

  3. via darksilenceinsuburbia:

    Ren Hang.

    Photography 2014


    (via adsertoris)

  4. Avalanche #1 - Fall 1970

    Avalanche, founded in 1968 by Willoughby Sharp and Liza Béar, was an avant-garde magazine that focused on art from the perspective of artists rather than critics, and investigated new forms of art, notably conceptual, in the United States and Europe. Thirteen issues were published between 1970 and 1976. 

    As Gwen Allen noted in Artists’ Magazines, “Avalanche fostered a more direct channel for the artist’s voice and helped to forge a new understanding of the artists’ magazine as a site of artistic identity and community that would be influential through the 1970s.”

    Avalanche’s very first Fall 1970 issue featured documentation of artists’ processes and works such as Joseph Beuys installing his work in the exhibition When Attitudes Become Form at the Kunsthalle Bern, in March 1969 . In the same issue, Carl Andre expressed to Avalanche’s founders Willoughby Sharp and Liza Béar his doubts about photographs of his works presented alongside the interview. “I’m afraid we get a great deal of our exposure to art through magazines and through slides and I think this is dreadful, this is anti-art because art is a direct experience with something in the world and photography is just a rumor, a kind of pornography of art.”


  5. "Passive, or indifferent, tourism might be seen as ‘memory without consequences.’ ‘The shape of memory cannot be divorced from the actions taken in its behalf,’ writes James E. Young in his brilliant book The Texture of Memory. ‘Memory without consequences contains the seeds of its own destruction.’ Historical tours are billed as educational fun but can equally function as anecdotes to the onset of amnesia, which is perhaps the ultimate tragedy. The closer we are to forgetting, the closer to the surface of events and emotions alike the further we are from the depths where meaning and understanding reside. Public memorials and visited sites are the battlegrounds in a life-and-death struggle between memory, denial, and repression."
    — Lucy R. Lippard, On the beaten track: tourism, art, and place, 1999.
  6. Tom Marioni, Museum of Conceptual Art, n.d., black-and-white photo-offset-litho, 8 x 10 inches. / In Vision #5 - Artists’ Photographs, edited by Tom Marioni and published by Crown Point Press, 1982.

    As a magazine series rooted in Conceptual art practices, Vision is an international publication in scope and ambition, but a local initiative specific to the Bay Area Conceptual art scene. It seems impossible to separate Vision and its fifth issue from this context and Marioni’s own career path as Vision’s editor, MOCA’s curator, and artist. His own photograph is included in Vision #5, titled Museum of Conceptual Art, and shows the building in which MOCA was located. The image depicts the ‘Breen’s – Fine Food’ diner on a street at night, the place below his museum—which was on the building’s upper floor. The photograph is overexposed, so that the scene is barely discernible; on top of the image, the letters “MOCA” are printed in white and an elegant font. Marioni made this photograph to suggest the end of the museum, as the image and MOCA were fading away. In his memoir, Beer, Art and Philosophy (2003), he speaks about the concluding era of his museum in the early 1980s:

    At this point I wasn’t receiving NEA grants anymore. I was too elitist for them. [] In 1984 I closed MOCA. I lost the building, but also it was the end of an era, and I hadn’t done any shows since 1981. Conceptual Art has come back now, but it was dead in the ‘80s. Art schools were starting to have Conceptual Art departments. It had become an academy. 

    Vision #5 was published two years before MOCA closed, in a period identified by Marioni as the end of Conceptual art—until its contemporary revival. The institutionalization of, and the development of the market for, Conceptual art practices seemed to be an issue he was very sensitive to.


  7. "An art grounded in distributed media can be seen as a political art and an art of communicative action, not least because it is a reaction to the fact that the merging of art and life has been effected most successfully by the ‘consciousness industry.’ The field of culture is a public sphere and a site of struggle, and all of its manifestations are ideological."
    — Seth Price, Dispersion, 2008. 

    Clocktower, Victoria, Seychelles.

  9. Cultivating the Human and Ecological Garden: a Conversation with Bonnie Ora Sherk - October 5, 2013

    Bonnie Ora Sherk’s visionary work started in the very early 1970s in San Francisco with the creation of environments such as Portable Parks 1-111 (1970-71) on the elevated freeway, and performances such as Public Lunch (1971) at the San Francisco Zoo. Her early works exhibited in State of Mind: New California Art Circa 1970 inserted a unique, environment-conscious, voice within the Conceptual Art movement growing in California at that time. They were the very first steps for Sherk’s explorations into human beings’ relationships with the natural world. A conceptual and transformational, public practice artist, Sherk is above all a human being who learned from nature and aims to share knowledge about ecology, art, and systems, through larger-scope community projects such as A Living Library. In this conversation, Sherk reflected on her earliest works and her most recent projects, giving an insight on her trajectory as an artist, an educator, and a cultivator – literally and metaphorically – through a few decades’ time.

    Pierre-François Galpin: Regarding the exhibition State of Mind: New California Art circa 1970, could you speak about the California art scene at that time? When did you arrive in San Francisco?

    Bonnie Ora Sherk: I arrived in San Francisco in the very late 1960s. I had just graduated from Douglass College, Rutgers University, in New Brunswick, New Jersey, and it was time for a new adventure, to do something different! I had never been to California before, but I was aware of the Summer of Love (1967), so it was of interest, of course. When I first came, it took me about a year to feel comfortable, as I am very sensitive to the environment, landscape, and vegetation; everything was different from the East Coast.  In California, the landscape seemed very dry, and not very green.  I was born in Massachusetts, and I moved around with my family in Maryland and Virginia, until we settled in New Jersey when I was in second grade. I was living very close to New York City, experiencing the metropolitan region and city life.  The town where I lived, Montclair, New Jersey, had fabulous old, deciduous trees; it was very leafy, green, and beautiful.

    PFG: What do you think was specific to the California art community compared to other art scenes, especially New York? Were you aware of the art scene in San Francisco?

    BOS:  When I first arrived in San Francisco, I knew very few people, and initially none from the art community. But, I became a graduate student in Fine Arts at San Francisco State University, and, in 1970, I began to meet serious, professional artists, when I created my first public project, Portable Parks I-III, which transformed “dead spaces” into ephemeral, bucolic, green places.  Portable Parksbrought trees, live animals, and other related elements to an elevated freeway, concrete islands next to a freeway off-ramp, and a whole street that was closed off, creating temporary parks, each increasingly more participatory.

    The rest of our conversation: here, on Independent Curators International @CuratorsINTL.

    For more information about Bonnie Ora Sherk’s work, see A Living Library blog and website: 

  10. An Instagram short film by Thomas Jullien.

    Instagram is an incredible resource for all kinds of images. I wanted to create structure out of this chaos. The result is a crowd source short-film that shows the endless possibilities of social media.

    The video consists of 852 different pictures, from 852 different Instagram users. If you are one of them, shout and I will add you to the credits.”

  11. Natacha Nisic. Écho, at the Jeu de Paume.

    Most of the recent exhibitions I have seen at the Jeu de Paume struck me, in various ways. Natacha Nisic's solo show, entitled Écho, did the same. 

    Nisic, born in Grenoble, France, in 1967, works with various mediums (video, photography, drawings), and especially with video, the chosen medium for most of the exhibition. Overall, her work deals with the inducible and invisible relation between images, words, symbols, but also the repetition of gestures and rituals, most of the times blurring times, past, present, and future. In Écho, curated by Nisic herself and Marta Gili, a selection of works made from 1995 onwards is installed in the Jeu de Paume’s first floor spaces. 

    The first work, Catalogue de gestes (Catalogue of gestures) (1995), is a video installation of several tv monitors on which pairs of hands do repetitive actions such as peeling an orange, cleaning hands, or knitting. The videos feel intimist and at the same time quite ordinary, as they depict everyday hand gestures. The way they are sequenced, short videos in a continuous loop, accentuates the gestures’ repetitive aspect, always in complete silence. Catalogue de gestes is Nisic’s earliest work presented in the show, as an introduction to the three main installations, and as a reminder of her interests.

    Andrea (2013) is Nisic’s main piece presented in Écho. The installation features nine tv monitors installed on the floor, inviting the audience to sit, or lay down, on pillows. The video shows a dialogue between two ‘civilizations’, a bridge between the West and the East, with two characters from Germany traveling to Korea in different times. Norbert Weber, a Bavarian christian missionary that went to Korea in the 1920s and made one of the first film about the country, and Andrea Kalff, a contemporary Bavarian woman who, in 2007, became a shaman, the spiritual daughter of Kim Keum-hwa, the most important Korean shaman. Nisic followed and filmed Andrea’s journey and experience, which is a complete fascination and devotion to an apparent very distant culture than her native one. The dialogue with the earlier 20th century missionary, whose evangelist mission shows a part of colonization history, is made possible by the tv monitors facing each other. Between fiction and documentary, Andrea’s story gets real when you would find her business cards left at the corner of the monitors…

    e (2009) and (2013) are two projects dealing with the tragic earthquake that happened in Fukushima, Japan, in 2008. e is a video on three screens that depicts the earthquake’s consequences on the landscapes and people living around Fukushima. f is a video made in response to e, which Nisic shot two years after the earthquake, still showing the effects of the catastrophe on the people, landscapes, and villages. The video is a long traveling with mirrors, showing the sides of the effects, the before and after, with only one gaze. 

    Overall, Nisic’s show at the Jeu de Paume is mesmerizing for the great quality of her video works, but also for her deep dedication to her subject matters, which all relate to human (bad or good) experiences, especially outside of the West. The way the show has been curated allows the viewers to really dive into her works, to take the time to watch and learn about other people’s life and manners, and to think about our owns. 

    Natacha Nisic. Écho is on view at the Jeu de Paume until January 26, 2014.


    With works by Tauba Auerbach, Elisheva Biernoff, Luke Butler, Claude Closky, Dina Danish, Sam Durant, Liam Everett, Colter Jacobsen, Ben Kinmont, Ruth Laskey, Adam McEwen, Dave Muller, Bruce Nauman, and Franz Erhard Walther.

    Artists & Editions is a limited-edition boxed set of multiples by 14 artists; it is a tribute to the renowned art dealer, collector, and educator Steven Leiber (1957–2012). The participating artists were invited to produce these multiples in response to Leiber’s archives and their own relationship with him. Some of the artists met Leiber at California College of the Arts, where he was an advisor in the Graduate Program in Fine Arts; some were his longtime creative and professional collaborators; others had work in his vast collection. Altogether, Artists & Editions documents a spectrum of relationships: between the collector and the artists, and among friends. The box’s contents vary in medium and format: from Tauba Auerbach’s digitally trimmed manila file folders to Bruce Nauman’s etching, Ruth Laskey’s hand-woven linen, and Colter Jacobsen’s hand-bound book.

    Artists & Editions was modeled after the 1970 Multiples Inc. publication Artists & Photographs, an object particularly loved by Leiber; he affectionately called it a “curious classic boxed edition.” A boxed edition is, in essence, an invitation to discover artists’ works privately. Opening such a box is akin to opening a treasure chest: The content reveals itself as the pieces are removed and examined. Each work is a mystery that leads to a new discovery, a new interpretation. The elements have many layers of meaning and feeling, and require the viewer’s close attention and contemplation. This display of Artists & Editions is an occasion to publicly unveil its precious contents.

    All proceeds from the sale of Artists & Editions directly benefit the Steven Leiber Scholarship Fund at California College of the Arts. Artists & Editions is currently in the permanent collections of the Achenbach Foundation for Graphic Arts at the Fine Arts Museums of San Francisco, the Berkeley Art Museum, the Fogg Museum at Harvard University, the Museum of Modern Art in New York, and the J. Paul Getty Museum in Los Angeles.

    The display of Artists & Editions has been curated by Pierre-François Galpin in collaboration with Robin Wright and the Wattis Institute. The exhibition was on view at the Wattis from December 10-14, 2013.

    For more information about the box and the works, visit RITE Editions

    Photos: Ian Reeves

  13. “Photographs of letters that spell California and of the map used for locating the site of each letter. The letters vary in scale from one foot to approximately one hundred feet, and in materials used. The letters are located as near as possible within the area occupied by the letters on the map. The idea was to see the landscape as a map and to actually execute each letter and symbol of the map employed on the corresponding part of the earth. It was an attempt to make the real world match a map, to impose a language on nature and vice-versa.”

    John Baldessari, California Map Project, 1969.