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Wednesday, December 09, 2009
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Category: Art and Photography
ArtReview’s Oliver Basciano meets Bob and Roberta Smith on the occasion of the artist’s installation Factory Outlet, at Beaconsfield, London To view the video see artreview.com
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Wednesday, December 09, 2009
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Magali Reus’s spare, minimal, sculptural and architectural
interceptions onto the lengthy walls and high ceilings of Le Salle de
Bains gallery, Lyon, have a fetishistic quality in the perfection of
their industrial finish. This gleam has sublime quality, the ecstatic
tempering of which is found in the seeming inhumanity (or even
post-human machinic) feel that resonates from the objects. Reus
addresses this in both the accompanying lineal film work, a
career-first, which gives the exhibition its title, Background
(all works 2009); and the almost unfathomable formal lineage that the
objects evoke. As one passes through the exhibition the works
conversely question the humanity of objects and the objectification of
humanity and the intrinsic transference that operates between the two
dichotomies. To read on see artreview.com
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Wednesday, December 09, 2009
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Though working through the medium of the windowpane, Tehran-based Mehraneh Atashi’s practice
is far from the sublime glory of stained glass. Instead she focuses on
the muddier, more pessimistic situation of modern urbanity. She uses
domestic windows to daub almost secret interventions onto the Iranian
capital’s cityscape, framed around the external view. In the Fear and Loathing
series (2006–7), the artist adds formless figures flying close to the
sun or falling from the sky, Icarus-like, over brutal housing blocks.
This expression of doomed escape seems to run through her smeared use
of applied clay in the 1386 Solar Hegira series (2007–8). The
works call to mind the horror of confinement and drab boredom, turning
the domestic into the institutional, the homely to prison protest. To read on go to artreview.com
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Monday, November 30, 2009
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Bridget Riley describes her mother thus: “She was always pointing out
colours: in the sea; the sparkle of dew: changes of colour when the dew
was brushed away. If she arranged anything on the table like a bowl of
fruit […] she would point out the colours. ‘Look it’s almost got a blue
on it.’* She wasn’t a painter, she was a ‘looker’. The pleasure that
one could get from looking was part of her personality.” To read on see artreview.com
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Thursday, November 26, 2009
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Inspired by Day is Done, his loopy redux of American high school
rituals and performances based on images in old yearbooks, the fourteen
vignettes Kelley strung together in this seventy-five minute agony could have been brilliant. To read on see artreview.com
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Thursday, November 26, 2009
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Well, that was a funny old art fair week here in London – some
collectors saying it’s all back, some collectors saying the Americans
will never come back, some collectors saying it’s all going to Paris
and some collectors writing blog entries of strangely uplifting and
frankly surreal stories about the artworld. To read on see artreview.com
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Thursday, November 26, 2009
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Arch-early instigator of all things appropriated, Hans-Peter Feldmann
opens his small but perfectly formed exhibition at London’s Ancient
& Modern with just a single work. To read on see artreview.com
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Thursday, November 19, 2009
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Category: Art and Photography
After an extensive twelve-year pre history, the gallery that Nick
Serota predicted to be "one of the best galleries in Europe” opened its
doors last Saturday 14 November.
To read on see artreview.com
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Thursday, November 19, 2009
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" International Art. For everyone. For Free" reads the large
sleek slogan in the windows. Nottingham Contemporary, one of the most
important new public spaces for contemporary art to be built in this
country in the last decade, opened to the public this weekend. To read on see artreview.com
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Thursday, November 19, 2009
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New York, New York is apparently Candice Breitz’s first live
performance piece. Playing to a packed house – MoMA curators, the
artist’s dealers from London, Tokyo and Milan; various Performa
patrons; Jeanne Greenberg Rohatyn, Klaus Kertess and Billy Sullivan;
Roberta Smith and Jerry Saltz, if they used the seats reserved for
them, among others – it proved a most inauspicious debut. To read on see artreview.com
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