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Circulation at Galerie Meyer Kainer in Vienna curated by Florian Pumhoesel: 13.9.-25.10.2019

The exhibition consists of a selection of pieces by Florian Pumhoesl entitled Formed Speech (2016–19), in which he explores the possibilities of defining a vertical object that divides a sequence: the directions it refers to, the imagined space that could emerge in between or before, the convergence of such an object with linguistic signs or figures gleaned from architecture. These pieces form the structure for a series of historical and contemporary work. “Circulation” also includes works by Ella Bergmann-Michel, Alan Charlton, Christian (Georges Herbiet), Anita Leisz, Henrik Olesen, Wacław Szpakowski and Ad Reinhardt. Opening: 12.9.2019, 6 p.m.

Lawrence Weiner LONG AGO FAR AWAY at OSL contemporary 13.9.-19.10.2019

Lawrence Weiner’s exhibition  LONG AGO FAR AWAY at OSL contemporary in Oslo opens on September 13th.  The show comprises of three sculptures and is Weiner’s second show at the gallery. Coinciding with LONG AGO FAR AWAY, and as part of OSL series, there will be a published conversation between Francesca Gavin and Lawrence Weiner. Opening 12.9.2019 6 p.m.

Adel Abdessemed at Charim Galerie in Vienna

“A Casual Loop” curated by Ami Barak with ‘Fatalité’ (2011) by  Adel Abdessemed  is opening today at  Charim Galerie in Vienna. Parallel to the gallery exhibition, a special presentation will take place in Schleifmühlgasse’s project space. Fatality 2011, by Adel Abdessemed, is an installation of seven standing microphones, from Murano glass, from which one could no doubt roll out many metaphors. Opening 12.9. 6 p.m. Running 13.9. – 12.10.19

FLORIAN PUMHÖSL at Miguel Abreu Gallery

Miguel Abreu Gallery is pleased to announce the opening, on Sunday, September 8th, of Saltern, Florian Pumhösl’s third solo exhibition at the gallery. The show will be on view at our 88 Eldridge Street location and will present a new body of painted reliefs. The type of saltern Florian Pumhösl refers to in these square works is a coastal horizontal structure consisting of ramparts, canals, and plains. Composed of a network of basins divided across a surface, saltworks store seawater, which evaporates over time to leave behind a salt deposit. As Pumhösl notes, the saltern is a “man-made landscape between sea and inhabited territory with modules characterized by flow and stagnation.” As an intervention into the seaside that modifies and inhabits the local terrain, the saltworks enact an abstraction that is perceived as natural. Following a morphological line of thought that adapts the spatial, temporal, and pictorial aspects of the saltworks, Pumhösl identifies the saltern as “an abstract image par excellence, because it is able to dissolve everything that appears manifest in it into relations.” SEPTEMBER 8 — OCTOBER 27, 2019

Douglas Gordon at ARoS Aarhus Art Museu

Douglas Gordon’s solo show at ARoS Aarhus Art Museu will be on view from September 7, 2019 to February 16, 2020 / The Scottish artist Douglas Gordon (b.1966) is among the major video artists to appear in recent times. The exhibition at ARoS is one of the most extensive presentation of Douglas Gordon’s works in Europe to date, shows a wide selection of the artist’s most important works.

Douglas Gordon at ARoS Aarhus Art Museum

Douglas Gordon’s solo show at ARoS Aarhus Art Museu will be on view from September 6, 2019 to February 16, 2020 / The Scottish artist Douglas Gordon (b.1966) is among the major video artists to appear in recent times. The exhibition at ARoS is one of the most extensive presentation of Douglas Gordon’s works in Europe to date, shows a wide selection of the artist’s most important works.

Naama Tsabar and Matan Mittwoch at Société d’électricité

Until November 9th the group exhibition “Encountered Error” will be on at Société d’électricité in Brussels. Conceived in dialogue with Société’s previous exhibition “Calculated Chance”, the exhibition “Encountered Error” continues to highlight artistic approaches based on the interplay between control and accident. Principles and processes of destruction, accident, failure, feedback, error all play an important role in the conception and creation of art. The exhibition tries to place these ‘negative notions’ in a ‘positive perspective’ and attributes to ‘error’ its true merit as an essential element in the meaning of art. It questions the medium and its limitations such as the conventions of language, its understanding, as well as the materials and techniques used in the process of art making.

Gallery talk with Miri Segal and Curator Nohar Ben Asher // Petah Tikva Museum of Art // Saturday, 31.8 at 12:00

Saturday August 31, 12:00 pm Petah Tikva Museum of Art The talk will be held in Hebrew The exhibition explores emotions through the gradual symbiosis between man and artificial intelligence (AI), while relating to the “emotional turn” it effectuates. Digital technology has developed rapidly since the early 1990s, leading to far-reaching changes. These changes—such as a new perception of “self” in the transition from physical encounter to the virtual realms of the social networks, and a different perception of space due to the use of GPS technologies—have given rise to a discourse centered on the digital world’s impact on man and society. AI is a new, evolving technology, with independent learning capabilities, which were thus far reserved only to human intelligence. As the connecting chain between man and the computer, it introduces changes in the emotional sphere, discussed in new sociological and psychological studies. The works on view address this emotional turn, and were created especially for the exhibition. Some relate to the emotional turnabout that occurred in the transition from a solid objective ethos to the relativist vagueness characterizing a multiplicity of subjective truths. They are based on a deep learning (AI) code, showing how technology dictates a new emotional regime. Among other things, these works delve into “filter bubbles” used by the global Internet giants to limit users’ scope of data, and consequently emotions; methods of art cataloging which undermine the linear temporal sequence; and voice translation applications which blur cultural characteristics while simultaneously creating a new culture. Another cluster of works explores emotions in social and political contexts, introducing “emotional capitalism”—a situation in which economic relationships become emotional, while close, intimate relations are increasingly defined by economic and political models. These works refer to such themes as employment in the age of AI (employees doomed to be replaced by AI in the near future); artificial intelligence and warfare; control; and the fear of missing out (FOMO) as an artificial-biological pattern. The participating artists all stand out in this field of art and innovation, and their works accentuate philosophical aspects made possible by digital practice. Some artists collaborated with programmers; others have specialized in computer science and have participated in numerous exhibitions. They use applications as an experimental medium to examine emotion in a period when AI often seems larger than man. In their artistic way, they propose a possible, not very distant future, which pushes one to both technophobic and technophoric emotions, making for a critical discussion of the coming future.

Simon Fujiwara – Joanne – ARKEN Museum of Modern Art

Simon Fujiwara Joanne ARKEN Museum of Modern Art, Ishøj August 31, 2019 – February 2, 2020 www.arken.dk Over the past decade, Simon Fujiwara has become known for his staging of large, complex exhibitions that explore the deeply rooted mechanisms of identity construction for both individuals and societies. From August 31 his thought-provoking work Joanne is on view for the first time in Denmark at ARKEN Museum of Modern Art. Presented as film and image environment, Joanne depicts the many faces of Joanne Salley, Simon Fujiwara’s former secondary school teacher. Winner of the 1998 Miss Northern Ireland beauty pageant, artist, teacher and champion boxer, Joanne Salley had a formative influence on Fujiwara as a scholarship student at the prestigious Harrow School for boys in Britain. Several years later, she became the victim of a tabloid newspaper scandal after students discovered and circulated topless photographs of her that had been taken privately. The ongoing media campaign that followed destroyed her career and public image. In 2016, Fujiwara and Salley embarked on the production of a short film that aimed, through the use of advertising and marketing techniques, to restore her image.