Weiner rose to prominence in the late 1960s when conceptual art was gaining traction in the US. He was part of a generation of artists questioning conventional modes of making and displaying art. At the time Weiner was creating grid-based drawings, shaped canvases and ephemeral interventions that sought to delineate public spaces.
The artist’s trademark interventions, often consisting of graphic elements and enigmatic phrases, are among the most distinctive bodies of work in contemporary art.Read the full article by Benjamin Sutton here
For this year’s Christmas festival, the Sankt Peter art station takes up memories of 1700 years of Jewish life in Germany and in the city of Cologne, which has also left its mark in the area around the parish church of Saint Peter.
Soap bubbles slowly float vertically down from the gallery, because the light “bubbles” are filled with gas that is heavier than air. On the ground they burst on an electric wire in a lightning-like explosion.
The work of art by Ariel Schlesinger is a fascinating game of lightness and weight, sensuality and energy. The aesthetics and technical precision are impressive. But it doesn’t stop at the spectacular spectacle. It is an “exercise of mindfulness”. We are invited to see the fragile in the floating beauty.
On view until February 23, 2022
Sound travels through mysterious channels in Naama Tsabar’s latest exhibition, “Perimeters,” on view at The Bass in Miami through April 16. For the show, the Israeli-born, New York–based artist will occupy the museum’s galleries with new, site-specific iterations of four bodies of work. Tsabar’s art occupies an intersection of sculpture, performance, and architecture that will transform the museum itself into a playable instrument.Following a year in lockdown, the collaborative nature of “Perimeters” has been immensely fulfilling for Tsabar. “I came out of that year with the realization that presence of the body is so important,” she told ARTnews. “Then, our bodies were in danger and the danger. But intimacy is essential, I don’t want to retract from it, I want to fight for it.” Read the full article by Tessa Solomon here