Douglas Gordon’s “I had nowhere to go” will be screened for the Cinema du Reel, Festival du Cinema Documentaire at the Hotel de Ville on March 16th at 7pm and at the Forum des Images (Salle 100) on March 21st, 8:30pm
Still Here is an exhibition at Arts Incubator Gallery, Chicago, showcasing six design proposals submitted by commissioned artists to become the Chicago Torture Justice Memorial. The public memorial brings awareness to the torture of more than 120 Black men and women from 1972 to 1991 by the Chicago Police Department under the direction of former Police Commander Jon Burge. The memorial is intended to honor the decades long struggle for justice, and survivors, families, and communities targeted by Burge and his midnight crew / Opening Reception: Friday, March 15, 2019 | 6-8pm / exhibition March 15 – April 26, 2019
As part of the Institut Français France-Romania Season, the Musée d’arts is delighted to host internationally renowned artist Mircea Cantor for a solo exhibition in the Chapelle de l’Oratoire /
From 15 March to 15 September 2019 at Chapelle de l’Oratoire / Opening: Thursday 14 March at 7.15pm
This exhibition can trace its roots back to 1999 when Robert Fleck, Director of Postgraduate Studies at the École régionale des beaux-arts de Nantes, who was appointed to the post of Director of the institution a year later, discovered the work of this student from the Academy of Fine Arts in Cluj during a trip to Romania. Mircea Cantor was invited to pursue postgraduate studies in Nantes, where he spent several years.
Twenty years later, the photograph All the directions forms the starting point for the exhibition. aken on the Île de Nantes in 2000, it shows the artist as a hitchhiker holding a blank sign conjuring up every potential destination. There is an element of defiance in the picture, which was taken when the artist’s American visa application for a study trip to New York was rejected, and it is tinged with melancholy and a sense of disenchantment. This duality lies at the heart of a large number of works by the artist, who refers to himself as an “artist of the world”, thus challenging notions of identity, ethics, politics, and also contemporary reality with all its contradictions.
Encompassing video, photography and sculpture, the exhibition brings together a group of recent and earlier works. The video Adjective to your presence, shot in Tokyo in 2018, shows demonstrators carrying transparent placards. It engages in a dialogue with Landscape is changing, in which demonstrators carry mirror placards reflecting the city of Tirana, where the film was shot in 2003. Produced in Romania and Nantes, and comprising work from his youth and pieces from the body of experiments on which the artist is casting his gaze with the benefit of hindsight, the extensive selection of photographs assembled for the exhibition presents previously unseen material putting in perspective artistic approaches adopted very early in his career by Mircea Cantor and the elements which subsequently became central to his work.
Traces and memories are placed in counterpoint in the Chapelle de l’Oratoire, illustrating the ambiguous Romanian word Înainte, which can mean both “forwards” or “before”, depending on the context.
Naama Tsabar will present her show Dedicatedat Kasmin Gallery, NY / March 13 – May 4, 2019 / 293 Tenth Avenue, NY / Naama Tsabar employs performance, sculpture, and photography to subvert the gender roles historically associated with musicianship. In her upcoming exhibition at Kasmin, Dedicated, Tsabar further explores these themes by expanding the borders of movement and mastery of the female body.
That’s About the Size of It is Jonathan Monk’s solo show at Meyer Riegger / 15 March – 13 April 2019 / Opening on Friday, March 15, 2019, from 6 to 9 pm / On the occasion of the opening the works will be actived. For the duration of the exhibition further performances will happen each Saturday, from 2 to 5 pm.
Jonathan Monk’s works often remake other artworks. They are also funny. For his exhibition at Meyer Riegger Gallery, the artist presents two new, small sculptures, which restage Tom Wesselmann’s (1931-2004) assemblage, ‘Bedroom Tit Box’ (1968-1970). A miniature, room-like tableau stuffed with out-of-scale models of domestic objects (including an ashtray holding a cigarette, an orange and a vase with vulva-like rose petals protruding from its rim), Wesselmann’s disturbing assemblage is activated by the insertion of a live female breast through a circular hole cut into its ceiling. In Monk’s humorous recasts, which also play on scale, Wesselmann’s tit-box remains intact save that a live penis is now inserted through each assemblage-roof instead (and when the penises are unavailable, then phallic-looking fruit). By substituting the female breast with the penis, Monk parodies Wesselmann’s fetishistic assemblage in which the female body is objectified, aligned with objects of female ‘domesticity’ and with the form of the artwork itself – a frequent trope in Wesselmann’s work. The exposed male appendage makes Monk’s works awkward; undermining rather than affirming masculinity. As reflected in the exhibition title – ‘that’s about the size of it’ – male size really does matter if you are a man though for different reasons than if you are a woman. Since the late 1990s Jonathan Monk has created artworks based on other artworks, referencing, in particular, the languages of conceptual and pop art.
Under the title Exhibit Model Four – plus invited guests, Jonathan Monk continues his exhibition series, which began in 2016 as a kind of retrospective, and which he has conceptually expanded for the KINDL – Centre for Contemporary Art / 10 March – 21 July 2019 / Opening: Saturday, 9 March 2019, 5 pm
Douglas Gordon is participatin in Talking Heads: Contemporary Dialogues with F. X. Messerschmidtat Belvedere, Vienna / March 8 – August 18, 2019 / The Belvedere’s exhibition asks questions based around categories such as the psyche, perception, and (self-)reflection – whether this is in Lutz Mommartz’s filmic portrayal of an artist like Joseph Beuys or in the way Maria Lassnig perceived herself in her paintings. While Miriam Cahn often references violent current events in her faces, Anna Artaker’s work explores the archaic impression of the death mask. This multimedia exhibition focuses not on the individual face but rather on how it is “processed,” and on the head as a (vital) body part. Curator: Axel Köhne