Galerie Conrad presents the solo exhibition The Angel´s Black Leg by Mounir Fatmi, one of the most internationally renowned artists from the Arab world, as part of Düsseldorf Cologne Open 2011. In his installations, videos and objects, Mounir Fatmi comments upon and contextualises western as well as oriental cultural practice and art tradition, politics and religion.
Shows & Exhibitions : Fine Art & Fine Craft
The whole of all the parts as well as the parts of all the parts features multiple video works in a performative installation by Los Angeles-based artist Frances Stark. The exhibition explores the space between text, drawing, PowerPoint, musical score, film, random video chats, animation, installation, and live performance in an eight-part video installation that unfolds one part at a time.
David Kordansky Gallery announces The Little Girl's Room, an exhibition of new work by Richard Jackson. His first solo gallery exhibition in Los Angeles in 20 years, the show is a significant milestone for an artist whose work has continually expanded and redefined the physical and conceptual reach of painting since the 1970s.
The end of transparency in art plays a great role in Mircea Cantor's work. Forming a mysterious body of work with many offshoots, Cantor's creations are a plea in favor of the "need for uncertainty," as the artist puts it. His art runs counter to the current overriding need to know and predict everything.
This September, Pangolin London will open a group exhibition curated by artist and magazine editor Marcus Harvey. ‘Two and a half dimensions’ is a phrase Harvey employs to describe the ‘gateway’ from wall based painting to sculpture. The exhibition brings together paintings whose preoccupation is with three dimensionality in its most direct sense and floor-based sculpture that reflects the painterly and imagistic.
Gallery Zilberman presents the exhibition titled Ping-Pong by Iraqi-Finnish artist Adel Abidin, whose work revolves around the reflections of the political and social issues in a distinctive visual language. The exhibition is curated by Basak Senova. The exhibition features an installation of a video work by the same title that fills the exhibition space of Gallery Zilberman in Istanbul. The minimal spatial design of the space gives the screen a floating effect, yet transforms the gallery into a field shared by the viewers and the work.
Ergin Çavuşoğlu's exhibition, Alterity, considers the human impulse to see pattern and meaning in otherwise random events, examining this hermeneutic urge as both an inbuilt intellectual reflex and a means of consolation in an arbitrary, indifferent universe. The exhibition itself consists of a number of disparate elements. Unveiling a number of new pieces alongside highlights from his repertoire of video works, Çavuşoğlu retraces recurring preoccupations in his practice and shows older work in a new light.
Assar Art Gallery is announces Heyrat [Wonder]*, an exhibition of new sculptures by Reza Lavassani. Known for his paintings and enigmatic papier-mâché sculptures, Lavassani displays his own visualization of subjects inspired and taken from old stories, fables, symbols and poems rooted in Persian culture. His work is heavily influenced by old literature and poetry and this fascination with the past, his sense of inventiveness and versatility has resulted in works of intense drawings, oil paintings and amazing sculptures throughout his career as an artist.
A new video-installation, Sisters! is a collaboration between Swedish artist Petra Bauer and the Southall Black Sisters - the radical, pioneering London-based feminist organisation, who since 1979 have politically engaged in the contemporary social and political conditions of black and minority women. Sisters! is not a film about the Southall Black Sisters, but is a two-way project between Bauer and the staff at the organisation.
Susan Hefuna’s work reflects experiences in-between cultures, dealing with cross-cultural codes; she constantly plays at what images mean and how they work, creating dream-like spaces where viewers can attach a wide array of significances to indicators of time and location. Hefuna hijacks the viewer beyond space and time, and from a taste of the undetectable, generates an arrangement of a direction of sorts. The lattices and correlations made on paper trace a journey, each line a new course.