#ask minouk

[minoukwrites]

Freeze! ✧ ─=≡Σ((( つ•̀ω•́)つ You’re under arrest for being so lovely. Copy this message to 10 other blogs that you think are beautiful and deserve it. Keep the game going and make others feel beautiful!

Awwwww ☺️ i did not expect anything so lovely ☺️

[caveartfair]

What Sold at Art Basel in Miami Beach

Installation view of Paul Kasmin’s booth at Art Basel in Miami Beach, 2017. Photo by Alain Almiñana for Artsy.

Will 2017 simply be known as the year of the $450 million Leonardo da Vinci or is a real art market rally underway? Signs pointed towards the latter at this year’s edition of Art Basel in Miami Beach, which closes on Sunday evening after a five-day run and offered some $3.5 billion in art for sale.  

Despite gallery closures and continued challenges for mid-sized dealers, 2017 will likely see an improvement in the art market’s size over 2016. According to UBS chief investment officer Mike Ryan, “an obvious appetite for art right now, especially in the ultra high net worth space,” has combined with a near-unprecedented eight-year expansion in global equity markets (currently the third-longest in history), providing the liquidity to feed that appetite.

Whispers among dealers and collectors that a downturn in the market is on the horizon were prevalent at Art Basel in Miami Beach and analysts at Bank of America have predicted a correction in equity markets will take place in mid-2018. However, Ryan said he doesn’t expect the backdrop fueling the art market’s rebound to change in the near-term, and projects the current expansion will continue not just through 2018 but well into 2019.

“As long as the economy is doing well and corporate earnings are growing at a healthy rate, which I think they will, that’s going to generate the kind of income that’s going to be important to supporting the art market,” he said.

“Bull markets do not die of old age; they die of cause,” Ryan said, citing data from the San Francisco branch of the Federal Reserve that shows the likelihood of recession does not to rise significantly as periods of expansion grow older.

Installation view of Paul Kasmin’s booth at Art Basel in Miami Beach, 2017. Photo by Alain Almiñana for Artsy.

What could trigger a downturn? Miscalculations in monetary policy in the United States and Europe, political uncertainty, and geopolitical conflict, among other things, said Ryan, bringing the expansion to a halt and dragging the art market back down with it. But the Swiss bank believes these risks are relatively minimal at the moment, despite heated rhetoric between international leaders.

The macro drivers still need to pass through an individual’s psychological filter in order to lead to art buying. According to new research released by UBS on Thursday, 71% and 54% of collectors cite personal enjoyment and passion, respectively, as the key drivers of their buying, while 40% view art with an investment lens. Nonetheless, “some days you feel more flush than other days,” said Chicago collector Irving Stenn Jr., and on those “more flush” days, you tend to buy more (and more expensive) art. This year, seven-figure sales were significantly more prevalent than last.

Among others, Paul Kasmin Gallery sold Lee Krasner’s Sun Woman 1 (1957), featured in her 1984 MoMA retrospective for $7 million. Mnuchin Gallery notched an early sale of Mark Bradford’s Fly in the Buttermilk (2002) for $3 million. Lévy Gorvy placed Ellsworth Kelly’s Sumac (1959), which had been in the same collection since 1989 and was included in the artist’s 1996 Guggenheim retrospective, for between $4 million and $5 million. Michael Werner sold Sigmar Polke’s Transparent #8 (1988) for $1.5 million; Eva Presenhuber sold Ugo Rondinone’s hunger moon (2013) for $1.2 million; and Mazzoleni sold Alberto Burri’s Bianco Plastica B 1 (1967) for $1.5 million.

Installation view of Pace Gallery’s booth at Art Basel in Miami Beach, 2017. Photo by Alain Almiñana for Artsy.

Pace also had a strong performance in this range, with Yoshitomo Nara’s Young Mother (2012) selling for $2.9 million and Pace Prints selling all 100 editions of KAWS’s set of nine silkscreens, THE NEWS (2017), for $45,000 each or $4.5 million in total. Additionally, a Willem de Kooning oil on paper work (Untitled, c. 1967) sold for $450,000, Michal Rovner’s video Urgency (2017) sold for $140,000, an untitled Joel Shapiro bronze went for $350,000, and a Wang Guangle canvas (170326, 2017) went for $325,000. Pace Gallery president Marc Glimcher attributed the brisk buying to increased wealth among high net worth collectors.

“The art market reflects that by being extremely strong and kind of liquid,” he said. “There is a lot of work moving around.” Glimcher said the number of new collectors entering the market at a very high level has prompted older collectors to sell.

Mathias Rastorfer of Swiss gallery Gmurzynska notched what was likely the fair’s biggest sale with Roy Lichtenstein’s Study for “Peace Through Chemistry” (1969). (Rastorfer would not confirm how much the gallery was asking for the work, but Art Agency, Partners’s Charlotte Burns reported a rumored price of $12 million.) But he said that dealers’ practice of sending extensive preview information to their collectors—and often pre-selling works before the fair has opened—was leading to lower turnout on Art Basel in Miami Beach’s first and second day resulting in, for some dealers, a slower pace of sales.

Installation view of Pace Gallery’s booth at Art Basel in Miami Beach, 2017. Photo by Alain Almiñana for Artsy.

“You have to be careful not to shoot yourself in the foot by pre-selling, pre-offering too many works because then you don’t have a reason to come to Miami,” he said. “It sort of cuts the branch off the tree that you’re sitting on. If you don’t create enough magic and enough sense of discovery, where is the necessity to come?”

Multiple advisers I spoke to throughout the week were delighted their clients were transacting via text message rather than in person (you can sell more art when you’re not limited to walking one buyer around the aisles at a time). One said that, after skipping the fair last year due to concerns about the Zika virus, his clients no longer saw the need come to Miami.

Whether art fairs need to be big, socially-driven events that draw collectors for the extracurricular activities or streamlined into industry events more closely resembling a trade show is open to debate. Art Basel has certainly built a brand (and a new business in Art Basel Cities) on its ability to attract vast audiences to a city for art programming, an effect that’s perhaps most visible on the fair’s bustling public days. But many dealers have been eager to diversify their activities outside of fairs, both commercially and academically.

Installation view of Hauser & Wirth’s booth at Art Basel in Miami Beach, 2017. Photo by Alain Almiñana for Artsy.

Mega-galleries such as Hauser & Wirth have benefitted disproportionately from the growing concentration of wealth in the hands of a small sector of the global elite, giving them the resources to take on many of the functions that were previously the domain of curators, academics, and museums. Director Fiona Römer said the gallery has well over 300 employees but is “completely understaffed” relative to the number of foundations and estates they now represent (around 25 as of the end of 2017, the latest of which being Eduardo Chillida).

This June the gallery added the estate of Piero Manzoni and a large pair of the late artist’s works were on view in the booth—one of which is on loan, but not for sale, from a private collection. The gallery published a 43-page book for the occasion and the for-sale example, Achrome (ca. 1959), had found a new home by Thursday afternoon. Römer said the price was  “super top secret.” She said they had rehung the booth both Wednesday and Thursday night, after sales including Bruce Nauman’s 1989 mobile Untitled (Two Wolves, Two Deer) (1989), which went to a private collection in Asia for $9.5 million, a Roni Horn work on paper (Yet 3, 2013/2017) for $750,000, and Jack Whitten’s Barney’s Legacy II (1980) for $950,000.

Römer said that while the gallery has recently invested heavily in Asia, and will open a Hong Kong location next spring, it hasn’t taken focus away from the U.S. “The American market is still very strong,” she said.

Sales in the six-figure range numbered into the hundreds across the convention center floor. By comparison, most fairs on the art world calendar may notch only a handful of transactions in this range or none at all. And much more activity, still, was taking place in the five-figure range.

On the one hand, this shows the power of fairs to generate revenue (galleries reported around 41% of their sales come from art fairs, according to The Art Market | 2017, a report underwritten by Art Basel and UBS). However, this level of activity is also a necessity at Art Basel where the stakes are incredibly high: costs are such that galleries that mostly show mid-career artists can have what on paper looks like a very successful week here and still walk away in the red or barely in the black.

Installation view of Pace Gallery’s booth at Art Basel in Miami Beach, 2017. Photo by Alain Almiñana for Artsy.

Tina Kim said that her New York gallery and its sister gallery Kukje in South Korea had been able to avoid the pitfalls that have befallen many who sell works in a similar price range due to their niche position as experts in Korean art internationally and their strong roster of international artists for the market in Asia. She also cited the number of Korean curators currently in place at major institutions (including Clara Kim at the Tate Modern and Doryun Chong at Hong Kong’s M+ museum) as a boost to their program.

“We can ride above the wave,” of volatility in the market, Kim said.

She sold two works by Korean minimalist Ha Chong-Hyun (Conjunction 17-04 and Conjunction 17-05, both 2017) for $100,000-110,000, Kyungah Ham’s What you see is the unseen / Chandeliers for Five Cities DSC02-D-03-R (2016) for $70,000-80,000, Haegue Yang’s Semi-dépliable-Andante (2011) for $65,000, and Minouk Lim’s Headset (2015) and Portable Keeper Unha-ri (2011) for $30,000-35,000 apiece, among others.

Many more dealers (including very successful ones) questioned just how sustainable the current art fair calendar is and expressed a desire to reexamine how much time, money, and energy they’re putting into fairs in the coming year.

“Fairs are eating up a lot of our time and it’s been more work this year,” said Berlin gallerist Esther Schipper. She said that fatigue felt by dealers is not only due to the constant pace of preparing for and traveling to art fairs but also due to the fact that they are platforms that don’t deliver results evenly across a gallery’s stable.

Installation view of Pace Gallery’s booth at Art Basel in Miami Beach, 2017. Photo by Alain Almiñana for Artsy.

“For certain artists it works incredibly well,” she said, citing sales of pieces by Tomás Saraceno, Matti Braun, and General Idea during Art Basel in Miami Beach’s first three days. “But there is also a lot you cannot show.”

The rise in the cost of fairs—not only of the booths themselves but also the cost of hotels, meals, flights, and shipping—can contribute to a greater emphasis on the more market friendly artists of a gallery’s program at these major events. Galleries can’t artificially increase the cost of their artists’ works to keep up, but the lucky ones are able to increase sales volume.  

“You don’t come here to break even,” Schipper said.

Robbie Fitzpatrick of young Los Angeles gallery Freedman Fitzpatrick echoed the sentiments of  fatigue on both the collector and gallery side. “It felt like there were people missing, but it might just be part of a larger sentiment of art fair fatigue,” he said, noting that he and his partner were looking to slim down the number of fairs they currently participate in to just three or four next year.

He said that they were excited to invest more heavily in pop-up exhibitions like ones they recently organized in Berlin (at Galerie Neu) and in Tokyo, citing concepts like CONDO, in which young galleries in two cities trade spaces for an exhibition each year, as interesting alternatives to traditional art fairs if maybe not “the grand solution.”

Nonetheless, Fitzpatrick was happy with the gallery’s results at Art Basel in Miami Beach, where, by the end of the day on Friday, they had sold all of the works they had on offer by Jill Mulleady for between $6,500 and $12,000.

Installation view of Hauser & Wirth’s booth at Art Basel in Miami Beach, 2017. Photo by Alain Almiñana for Artsy.

Two-year-old Chicago gallery Patron also reported selling out their booth. The gallery brought eight works by Harold Mendez to the fair, which went on the range from $5,000 to $20,000. Mendez took part in this year’s Whitney Biennial and was selected for MoMA’s influential New Photography show next year.

Patron’s co-founder Emanuel Aguilar said that, while they do experience the same pressure from the rising cost of fairs as other young galleries, they are relatively protected from the other major factor that closing galleries have cited recently: rising rents.

“Being in Chicago is part of our business model,” he said, noting that in the time since they opened, several other new spaces have come up in the Windy City. “What we would spend on rent in New York goes towards us being able to travel to visit collectors and curators and spend time with our artists in their studios.” He suggested that an industry-wide reckoning regarding expenditures and business strategy has only just begun.

This reckoning has mainly been the domain of small and mid-size galleries thus far. But despite a bullish economic outlook for 2018, some blue chip American dealers suggested that the growth they’ve seen in 2017 may not carry on into the new year.

Installation view of Hauser & Wirth’s booth at Art Basel in Miami Beach, 2017. Photo by Alain Almiñana for Artsy.

Pace’s Glimcher said he expects the supply currently fueling the top end of the market to wane in the new year. “We’re facing a disadvantageous tax situation coming up,” he said, referring to the elimination of Section 1031 of the tax code as of January 1, if the current bill becomes law. (The provision allows U.S. collectors to forego capital gains taxes on artwork sales if profits are invested in a similar asset for investment purposes.) Heirs will also have less reason to sell, if the estate tax is done away with as proposed, removing the first of the three D’s—death, divorce, and debt—that also drive supply in the market.

The bill’s elimination of deductions for state and local taxes could also hit demand, Glimcher said, since American collectors tend to live in high-tax states like New York and California on the east and west coasts.

“It’s going to affect the very high end of the market for Americans and Americans make up a very big chunk of the very high end of the market,” he said. “Some major collectors are going to sell a little less, which is going to push up the prices and also mean that fewer people will be able to participate.”

While in the sunshine state this week, though, the feeling was: make hay.

from Artsy News

[micaramel]

Artists: Shannon Book, Anne Speier, Pure Fiction, Dara Friedman, Kerstin Cmelka, Peles Empire, Tobias Rehberger and Rirkrit Tiravanija

Venue: various locations, Frankfurt

Exhibition Title: Portikus XXX

Curated by: Franz Hempel, Fabian Schöneich

Date: July 19 – October 14, 2017

Click here to view slideshow

Pure Fiction, excerpt of Mikhail Wassmer’s video for Reading; displayed on Frankfurt Airport Terminal 1 monitors

Full gallery of images, videos, press release and link available after the jump.

Images:

Videos:

Dara Friedman, excerpt 1 of Dancer, 2011, 16mm film transferred to video, 25 mins; displayed on Frankfurt Airport Terminal 1 monitors

  Dara Friedman, excerpt 2 of Dancer, 2011, 16mm film transferred to video, 25 mins; displayed on Frankfurt Airport Terminal 1 monitors

  Dara Friedman, excerpt 3 of Dancer, 2011, 16mm film transferred to video, 25 mins; displayed on Frankfurt Airport Terminal 1 monitors

  Dara Friedman, excerpt 4 of Dancer, 2011, 16mm film transferred to video, 25 mins; displayed on Frankfurt Airport Terminal 1 monitors

  Pure Fiction, excerpt of Dan Kwon’s video for Reading; displayed on Frankfurt Airport Terminal 1 monitors

  Pure Fiction, excerpt of Ellen Yeon’s video for Reading; displayed on Frankfurt Airport Terminal 1 monitors

  Images and videos courtesy of Portikus, Frankfurt

Press Release:

July 18 – October 14, 2017

Portikus is turning thirty. Founded as a small art space on Schöne Aussicht in 1987, we moved from there to the Leinwandhaus and then to the Maininsel. Portikus XXX is the name of our anniversary project that doesn’t look back, but simply keeps moving ahead, not inside Portikus itself, but in the city so important to Portikus: Frankfurt am Main. We leave our space and, with small gestures and major interventions, present new works in urban places that shape the cityscape. In this way, Portikus XXX addresses a broad audience while, at the same time, we continue to do what we’ve been doing in recent years: making exhibitions that stimulate, expand perspectives and ask questions.

  Summer Screening Program:

July 19, 2017, 21h Portikus Filming Lack w/ Thirteen Black Cats, Martha Rosler, among others

July 26, 2017, 21h Portikus Dara Friedman

August 2, 2017, 21h Procession / Parade w/ Nina Könnemann, Jimmie Durham, among others

August 9, 2017, 21h Portikus Sound Bleed w/ Minouk Lim, Basel Abbas & Ruanne Abou-Rahme, Lawrence Abu Hamdan, among others

August 16, 2017, 21h Portikus Non-work w/ Helke Bayrle, Frances Stark, among others

What might a minor history of Portikus told through video look like? Helke Bayrle’s Portikus Under Construction gives this history its images, building an institutional memory and body of artworks out of what is almost always erased and obfuscated: work left outside of finalized and public-facing installations within the main gallery. Though the artworks in this screening program are by no means minor in and of themselves, they work outside of the limits of these artists’ previous contributions to the exhibitionary legacy of Portikus. Almost none of these films and videos have been shown within the galleries of Portikus before, yet they provide a vehicle for reflection through their addition and deviation. In an effort to let these relations permeate the methods of this program, groupings of films and videos will together assert the value of lack, the uncertain, the secondary, the obscured, the forgotten, and the unclassifiable. This project attempts to build a minor history of Portikus, inspired by Bayrle, from these foggy positions.

Program by Levi Easterbrooks

  Shannon Bool Press Release:

July 19 – October 1,2017

Dom St. Bartholomäus Domplatz 1 60311 Frankfurt am Main

In her work, Shannon Bool deals with the representational systems of art history with regard to visual and decorative arts and creates drawings, collages, photograms, murals and installations. In them, she often references related disciplines such as architecture, literature or psychology. For the Dom St. Bartholomäus (imperial cathedral), Bool has produced a new marble bench sculpture, which the artist has engraved with surface incisions oriented on historical church graffitis found in various archives. The work is complemented by a large-format tapestry reflecting the artist’s interest in ornaments, early modernism as well as oceanic cult. In this context, ornamental elements and different surfaces are not merely decoration, but bearers of meaning that reflect the complexity of perceptive and comprehension processes. Scribed Grid is a painterly work with a grid related to the structure of the windows in the cathedral, thus entering into a dialogue with the setting.

  Pure Fiction Press Release:

July 18 – October 14, 2017

ON DISPLAY

Frankfurt Airport Terminal 1 60547 Frankfurt am Main Security zone – only accessible for arriving passengers!

Videos with texts by Ellen Yeon Kim, Dan Kwon, François Pisapia, and Mikhail Wassmer will be screened on the displays at the luggage area of Terminal 1 at Frankfurt Airport.

READINGS

July 18, 2017, 20h Le Méridien Frankfurt Hotel Wiesenhüttenplatz 28–38 60329 Frankfurt am Main

August 10, 2017, 20h Frankfurt Airport Terminal 2 – Visitor’s terrace 60547 Frankfurt am Main

August 10, 2017, 20h Maxie Eisen Bar Münchener Str. 18 60329 Frankfurt am Main

In 2011, students of Städelschule invited writer Mark von Schlegell to organise a fiction seminar in the school. Since then, the class, Pure Fiction, has brought together current and former Städel students to examine and above all produce texts in the most diverse forms possible, from written artistic works and experimental writing to readings and performances that inevitably draw in other aspects of the diverse artistic practices of all the class members. The works of authors from Cervantes to Woolf form the pre–given raw material of the seminar. An engagement with the material and mystical properties of printed matter have led the class to produce numerous publications. For Portikus XXX, Pure Fiction presents itself in two ways. Recurring texts can be seen on 116 digital screens throughout the Frankfurt Airport. The words are translated into moving images, which suggest a sequential interpretation and follow a general notion of word flow. The relationship between form and content is visually reduced by means of the typographic design. In addition, the Pure Fiction class will give readings: on three evenings, new and old texts will be presented.

  Dara Friedman Press Release:

July 18 – October 14, 2017

ON DISPLAY Frankfurt Airport Terminal 1 60547 Frankfurt am Main Security zone – only accessible for arriving passengers!

Excerpts of Dancer (2011) are shown on displays in the luggage area of Terminal 1, Frankfurter Airport.

ARTIST TALK July 26, 2017, 21h Portikus

Dara Friedman is best known for experimental, non-narrative works that deconstruct the techniques of conventional filmmaking. For Dancer (2011), she enlisted a variety of Miami-based dancers to move through the urban space. Shot on 16mm black-and-white film and transferred to HD video, Dancer celebrates both the city and the medium of dance. With the city streets as a stage, dancers improvise, expressing the specificity of their styles and making meaning through movement. Inspired partly by the late Pina Bausch (1940–2009) creator of the dance theater movement, Friedman – like Bausch is not necessarily interested in how people move, but rather, what moves them. Brief excerpts from the original 25-minute film, which shows some 60 dancers in about 40 scenes, will be presented on the monitors in Frankfurt Airport’s arrivals area. In this way, the travelers in front of the screens become dancers themselves. Through a careful crafting of the filming process, and reacting to the dancers’ bodies – Friedman transforms each participant from someone being passively watched to someone being danced with, a partner.

  Anne Speier Press Release:

July 21 – October 1, 2017

Opening: July 20, 2017, 17–20h

Fleming’s Selection Hotel Frankfurt-City Eschenheimer Tor 2 Bleichstraße 64–66 60318 Frankfurt am Main

In her work, Speier employs different techniques to deal with contemporary questions of art production. The intricacy of her work is reflected in the medium of the collage, which is processed digitally as an expression of the contemporary. The artist addresses her own location in the field of art as the subject of everyday situations. In a new sculpture, Anne Speier has created a primate that viewers encounter hanging from the ceiling. The pose of the orangutan suggests fear and a corresponding defensive stance. However, there is nothing signifying what else is going on in the room. Is the orangutan just imagining reasons for his posture? Is he pulling away from us visitors? As a work of art, the animal becomes the projection surface, which can play various roles in its attribution as a primate. Beyond pop culture references, Speier’s sculpture raises questions about identity – that of the object and our own confronted by it. The stairway becomes a stage, drawing attention to the sculpture and making it possible to see it from different angles. The rope can be read as a multi-story guideline.

  Kirsten Cmelka Press Release:

July 27  – September 27, 2017 September 21, 2017, 19h Introduction and lecture performance by Kerstin Cmelka & Mario Mentrup

September 21 – September 27, 2017 The Attackables by Kerstin Cmelka as supporting film always at 20.30h

Filmforum Höchst Emmerich-Josef-Straße 46A 65929 Frankfurt am Main

August 3 – August 9, 2017 The Attackables by Kerstin Cmelka as supporting film always at 20h

Mal seh’n Kino Adlerflychtstraße 6 60318 Frankfurt am Main

July 27, 2017, 19h Introduction and lecture performance by Kerstin Cmelka & Mario Mentrup

July 27 – September 20, 2017 The Attackables by Kerstin Cmelka as supporting film before selected screenings

Orfeos Erben Hamburger Allee 45 60486 Frankfurt am Main

In her works, Kerstin Cmelka combines different media such as photography, video and performance with objects and creates extensive installations. Her works often reference plays, movies and TV shows, which she adapts and expands. They move at the interface between visual and performing arts, make use of traditional dramatic techniques and transfer them to the exhibition context. In many of her productions, Cmelka takes on the roles of director, screenplay writer, actor, as well as scenery artist and costume designer. A patchwork family, where the adults as well as the children are active as professional performers in contemporary fields of the arts industry and other services is at the center of her new portmanteau film The Attackables (Die Angreifbaren). They are protagonists of a socially undervalued profession: modern jugglers or carnies who coordinate their various activities and roles with great physicality, a high degree of concentration, pragmatics and professionalism, demonstrating less fame than ongoing work and flexibility in a wide variety of performative terrains. The first episode of Die Angreifbaren begins with performers heading to an extraordinary shoot on a frantic car ride, in which the other themes of the film are revealed. This part is both a teaser for the entire film project as well as an independent short film. Accordingly, The Attackables – Episode #1 will be shown at various cinemas in Frankfurt in the opening program before the main feature.

  Peles Empire Press Release:

August 5, 2017

20h Parkhaus Alt-Sachsenhausen Upper parking deck Walter-Kolb-Straße 16 60594 Frankfurt am Main

The artist duo Katharina Stöver and Barbara Wolff have been working together since 2005 under the name of Peles Empire, questioning categories like “original” and “reproduction” in their work. They borrow not just the name of the Romanian castle of Peles, but alienate it as part of their work. The historical structure, which unites different historic architectural styles in a collage-like manner, is always a reference point for the works, which often undergo a double translation of two- and threedimensionality, from object to image of it and back to sculpture. In addition, the aspect of hosting is part of the artistic practice of Peles Empire, who have created various spaces for dialogue and organized exhibitions with other artists in Frankfurt, London, Los Angeles, Cluj, Istanbul and Berlin. For Portikus XXX, Peles Empire return to Frankfurt where they started with salons and bar evenings. They are presenting a bar made of Jesmonite, a special material that the two artists have discovered for their work and reconceived as a form of expression.

  Tobias Rehberger & Rirkrit Tiravanija Press Release:

October 10 – October 14, 2017

Kleinmarkthalle Hasengasse 5–7 60311 Frankfurt am Main

Tobias Rehberger works in a wide variety of media to create works and extensive installations at the crossroads of art, design and architecture. His works are difficult to categorize and are notable most of all for this diversity. Rirkrit Tiravanija grapples with social issues and his work often takes on the form of social happenings, finding expression, for example, in cooking events, readings or concerts. It is always about the participants, who become active parts of and help to shape the work of the artist. For Portikus XXX, the two artists are realizing a project that brings both of their practices into the forefront while working with local producers. Rehberger and Tiravanija will offer a limited edition of ceramics for sale in the Kleinmarkthalle this fall. Part of these ceramics will be a variety of dishes freshly prepared by the two artists from ingredients from the market.

Tobias Rehberger (*1966 in Esslingen am Neckar, lives and works in Frankfurt, DE) Rirkrit Tiravanija (*1961 in Buenos Aires, AR, lives and works in New York, US; Berlin, DE and Chiang Mai, THA)

Link: “Portikus XXX” at various locations

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from Contemporary Art Daily http://ift.tt/2k2PkEF

[minoukwrites]

Had this angsty drabble idea from the lie Petunia and Vernon told Harry.

Jily muggle AU prompt:

“Hello.. Potters residence.”

“Is this Lily Potter?”

“Yes. Who is this?”

“This is from the hospital. Your husband has been a car accident”

“N no.. he will be fine. He HAS to be fine!”

Interesting concept, you should write it! 😊👌

[minoukwrites]

Hi! Could you recommend a fic where Lily dies and James has survivors guilt/blames himself for her death?

Never read anything like this! 😆 i’m more the fluff and angst type ☺️

[minoukwrites]

Hi.. don’t know whether you accept prompts/drabbles or not. Always had this intriguing potterverse what if in my head. I would understand if you aren’t interested in writing it, but regardless here is the request=

Jily muggle prompt/AU:

“Harry! You are awake! Oh thank god” “M mum? D dad? You are alive? Was it all a drea..”

“Son, y you have been in a coma for a while”

Hey! That’s a cool idea and thanks for reaching out ☺️💛 unfortunately, i simply don’t have the time to come up with something. 🙃 I’m currently drafting like crazy for my fic. The goal is 30 k words by the end of the month 🤓 my brains is 100% occupied by this fic and there is 0 room for anything else 😅

[micaramel]

Artists: Armando Andrade Tudela, Patricia Esquivias, Geoffrey Farmer, Llyn Foulkes, Fernell Franco, Fritzia Irízar, Minouk Lim, Darling López Salinas, Louise Menzies, Pratchaya Phinthong, Jhafis Quintero, Ben Rivera, Bob Schalkwijk, Ariel Schlesinger, Shimabuku, Michael Stevenson, Germán Venegas, Dick Verdult (Dick El Demasiado), Camilo Yáñez

Venue: Regen Projects, Los Angeles

Exhibition Title: Primordial Saber Tararear Proverbiales Sílabas Tonificantes Para Sublevar Tecnocracias Pero Seguir Tenazmente Produciendo Sociedades Tántricas – Pedro Salazar Torres (Partido Socialista Trabajador)

Curated by: Abraham Cruzvillegas, Gabriel Kuri

Date: September 9 – October 28, 2017

Click here to view slideshow

Full gallery of images, press release and link available after the jump.

Images:

Images copyright and courtesy of the artists and Regen Projects, Los Angeles. Photos by Brian Forrest.

Press Release:

Regen Projects is pleased to present an exhibition curated by gallery artists Abraham Cruzvillegas and Gabriel Kuri concurrent with Pacific Standard Time: Los Angeles / Latin America.

The exhibition will examine the influence of the Latin American diaspora by bringing together a group of works by international artists living and working beyond the geographical limits of Latin America. Spanning a variety of media from the 1940s to the present, the exhibition will feature painting, drawing, sculpture, photography, video, performance, and installation. Shown together, the works in the installation represent the result of a dialogue between Cruzvillegas and Kuri, who are also long time friends and colleagues, creating an idealized world of cultural exchange that is defined by affinities rather than differences.

Providing both a catalyst as well as a visual metaphor for the curatorial vision and conceptual origin of the show, the gallery’s walls will feature socio-political maps inspired by artist Miguel Covarrubias. Entitled Pageant of the Pacific, six rigorously detailed illustrations highlight various economic and cultural routes of trade: Peoples of the Pacific, The Fauna and Flora of the Pacific, Art Forms of the Pacific Area, Economy of the Pacific, Native Dwellings of the Pacific Area, and Native Means of Transportation of the Pacific Area. Spliced together to create multiple iterations of the maps, the images on the walls serve as an hommage to the artist and form a literal backdrop or framing device onto which other art works will be hung.

Nodding to the early history of Latin America, Germán Venegas’ Danza de Coatlicuereferences pre-Columbian artistic traditions. According to legend, Coatlicue, a Nahuatl word for skirt of snakes, is the goddess who gave birth to the moon, stars, and Huitzilopochtli, the god of the sun and war. Venegas’ blonde carved wood sculpture depicts the eponymous Aztec goddess as two snakes writhing in space. Nearby a suite of his watercolor studies line the walls of the gallery.

Michael Stevenson’s The Fountain of Prosperity was created after the artist’s extensive research into the Phillips Machine, a.k.a. Moniac (Monetary National Income Analogue Computing Machine), a hydro-mechanical analogue computer invented in 1949 by Bill Phillips with the purpose to represent fiscal and monetary flows in a national economy. As a visualization of the abstract it became briefly popular as a pedagogical aid and was used in university departments – around 15 examples were constructed for this purpose. Stevenson’s sculpture is however inspired by an outlier in this history; one of the machines was purchased by the Central Bank of Guatemala. His research stems largely from archival and field research in Guatemala, where the Moniac made a brief appearance in 1953.

Ariel Schlesinger’s Bubble Machine is a kinetic sculpture comprised of a hydrogen tank affixed with a motorized mechanism that forms bubbles. Once the bubble is blown, it drops onto an electrified field of wire coils below. Operating as part studio exercise and part laboratory experiment, Schlesinger’s work uses humour to illustrate violence and destruction.

Some works represent smaller parts of larger existing installations like Cuban Sambaby Shimabuku. Inspired by a poetic and chance encounter in which the artist discovered a series of coffee cans placed underneath a leak to catch drips of water, Shimabuku recreates the installation with a coffee can tin out of which emanates a field recording of water droplets, reminiscent of a samba, comprising the memory of a sound.

For the realization of this project, Cruzvillegas and Kuri asked themselves the following questions when considering which colleagues to include, which works to put together, and what issues would be the best to address:

What defines us? Is it the time zone we inhabit? Is it the continent on which we live? Is it a slippery surface we only surf or fall over? Are we still dreaming in ideological consistency? Is nationalism a standard to bear and sing slogans for? Are borders still representative symbols that help to define us, but which we do not quite fully understand? What is a wall? What is an ocean? … . Artists featured in the exhibition include:

Armando Andrade Tudela (b. 1975 Lima, Peru; lives and works in Lyon, France and Berlin, Germany)

Patricia Esquivias (b. 1979 Caracas, Venezuela; lives and works in Madrid, Spain)

Geoffrey Farmer (b. 1967 Vancouver, Canada; lives and works in Vancouver, Canada)

Llyn Foulkes (b. 1934 Yakima, WA; lives and works in Los Angeles, CA)

Fernell Franco (b. 1942 Versalles, Colombia; d. 2006 Cali, Colombia)

Fritzia Irízar (b. 1977 Culiacán, Mexico; lives and works in Culiacán, Mexico)

Minouk Lim (b. 1968 South Korea; lives and works in Seoul, South Korea)

Darling López Salinas (b. 1987 Managua, Nicaragua; lives and works in Managua, Nicaragua)

Louise Menzies (b. 1981 Christchurch, New Zealand; lives and works in Auckland, New Zealand)

Pratchaya Phinthong (b. 1974 Ubon Ratchathani, Thailand; lives and works in Bangkok, Thailand)

Jhafis Quintero (b. 1973 La Chorrera, Panama; lives and works in Verona, Italy)

Ben Rivera (b. 1971 San Pedro Sula, Honduras; lives and works in Los Angeles, CA)

Bob Schalkwijk (b. 1933 Rotterdam, The Netherlands; lives and works in Mexico City, Mexico)

Ariel Schlesinger (b. 1980 Jerusalem, Israel; lives and works in Berlin, Germany and Mexico City, Mexico)

Shimabuku (b. 1969 Kobe, Japan; lives and works in Okinawa, Japan)

Michael Stevenson (b. 1964 Inglewood, New Zealand; lives and works in Berlin, Germany)

Germán Venegas (b. 1959 La Magdalena Tlatlauquitepec, Mexico; lives and works in Mexico City, Mexico)

Dick Verdult (Dick El Demasiado) (b. 1954 Eindhoven, The Netherlands; lives and works in Calanda, Spain)

Camilo Yáñez (b. 1974 Santiago, Chile; lives and works in Santiago, Chile)

Link: Group Show at Regen Projects

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