Liam Gillick: Industry and Intelligence: Contemporary Art Since 1820
December 4, 2017, 7:00 pm – 8:00 pm
de Young Museum
The de Young Museum’s annual Bransten lecture presents noted Liam Gillick [who will] speak on his recent book, Industry and Intelligence: Contemporary Art Since 1820, around the topic of aesthetic breakthroughs in the 19th and 20th centuries as they interact with cultural and political change. Rather than simplistically linking revolutionary breakthroughs in the arts with larger social and cultural phenomenon, he writes a nuanced genealogy to help us appreciate contemporary art’s engagement with history even when it seems apathetic or blind to current events. From Courbet to Picasso, from Malevich to Warhol, it is accepted that art tracks the disruptions of industrialization, fascism, revolution, and war. Yet filtering the history of modern art only through catastrophic events cannot account for the subtle developments that lead to the profound confusion at the heart of contemporary art. Taking a broad view of artistic creation from 1820 to today, Gillick follows the response of artists to incremental developments in science, politics, and technology. The great innovations and dislocations of the nineteenth and twentieth centuries have their place in this timeline, but their traces are alternately amplified and diminished as Gillick moves through artistic reactions to liberalism, mass manufacturing, psychology, nuclear physics, automobiles, and a host of other advances. He intimately ties the origins of contemporary art to the social and technological adjustments of modern life, which artists struggled to incorporate truthfully into their works.
Liam Gillick (b.1964) deploys multiple forms to expose the new ideological control systems that emerged at the beginning of the 1990s. He has developed a number of key narratives that often form the engine for a body of work. Gillick’s work has been included in numerous important exhibitions including documenta and the Venice, Berlin and Istanbul Biennales – representing Germany in 2009 in Venice. Solo museum exhibitions have taken place at the Museum of Contemporary Art in Chicago, the Museum of Modern Art in New York and Tate in London. Gillick’s work is held in many important public collections including the Centre Pompidou in Paris, the Guggenheim Museum in New York and Bilbao and the Museum of Modern Art in New York. Over the last twenty five years Gillick has also been a prolific writer and critic of contemporary art – contributing to Artforum, October, Frieze and e-flux Journal. He is the author of a number of books including a volume of his selected critical writing. High profile public works include the British Government Home Office (Interior Ministry) building in London and the Lufthansa Headquarters in Frankfurt. Throughout this time Gillick has extended his practice into experimental venues and collaborative projects with artists including Philippe Parreno, Lawrence Weiner and Louise Lawler.
Nathan Carter Film Screening and Live Performance
GIORGIO GRIFFA PARTICIPATING IN E.A.T./ENGADIN ART TALKS IN ZUOZ, SWITZERLAND
BOOK LAUNCH: MATEO LÓPEZ XYZ
FRIDAY DECEMBER 11, 4 – 6 PM AT CASEY KAPLAN
The artist will be joined in conversation with Senior Curator Claire Gilman of the Drawing Center on the subject of López’s current exhibition: A Room inside a room, on view at Casey Kaplan through December 19.
Mateo López’s XYZ, an artist book published by S/W Ediciones in a limited edition of 150 and a deluxe edition of 30, all signed and numbered by the artist, operates in part as an archive of plans and diagrams applied in the construction of the artist’s paper sculptures, and as insight into the inner-workings of the logic applied within each tactful maneuver. With every skillfully crafted sculpture or work on paper, intent subsists within the subtlety of a predetermined line or fold. In revealing the technical and foundational support established in the process, the pages of the book exist in and of themselves as distinct works on paper, pulling the viewer into the mechanisms of López’s psyche. Enclosed inside each individual edition rests a single cutout piece of paper taking shape in varying formations, such as a butterfly or a pair of eyeglasses; an extraction removed from the book itself is translated into an ethereal artifact waiting to be uncovered. Special thank you to Ana Sokoloff at S/W Ediciones.
Book specifications (for both Deluxe and Limited editions):
- Fifty-six pages, french-folded screen printed cover
- Fifty-four images printed in archival ink, based on artist’s pencil drawings
- The closed case size is 8.5 in. wide x 10.5 in. high x 1.25 in. deep
- The cruciform case is handmade with a lace tie
Deluxe Edition with Original Artwork:
- Handmade clamshell case is screen printed
- The case’s upper box holds one cutout sculpture pinned to a screen printed sheet
- The case’s lower tray holds the book
- The closed case size is 9.25 in. wide x 11.75 in. high x 4.5 in. deep
Mateo López (b. 1978, Bogotá, Colombia) is currently included in the exhibition United States of Latin America, curated by Jens Hoffmann and Pablo León de la Barra at the Museum of Contemporary Art Detroit through January 3, 2016. His work has been exhibited internationally, having presented solo exhibitions at the Museo de Arte Moderno, Medellin, Colombia (2014); The Jerusalem Center for the Visual Arts, Jerusalem and Tel Aviv, Israel (2012); Gasworks, London (2010); and Museo de Arte Contemporáneo de Castilla y León (2009). In 2013, López was featured in the exhibition “A Trip from Here to There” at The Museum of Modern Art, New York, an exhibition centered around his work by the same title, curated by Jodi Hauptman and Luis Pérez-Oramas. The artist has also participated in past group exhibitions including The Drawing Room, London (2015); The Museum of Fine Arts, Boston (2013); 43 Salon Nacional de Artistas, Colombia (2013); Mercosur Biennial (2011); and 29 Bienal de Sao Paulo (2010). López is included in numerous public collections including the Museum of Modern Art, New York; The Berezdivin Collection, Puerto Rico; Inhotim, Minas Gerais, Brazil; Banco de la Republica, Biblioteca Luis Ángel Arango, Bogotá, Colombia; Bienal de Cuenca, Ecuador; and CIFO, Cisneros Fontanals Art Foundation, Miami, FL. López is slated to open a solo show at The Drawing Center, New York in January of 2017.
Kevin Beasley is participating in the Benefit for Triple Canopy, honoring Ralph Lemon
20 Elizabeth Street
New York, NY
We’re pleased to announce that Ralph Lemon will be the honoree at Triple Canopy’s fall benefit, which will take place on Wednesday, November 18, 2015. Please join Triple Canopy’s editors, Board of Directors, and Publishers Circle for cocktails, a seated dinner, and various celebrations of Lemon’s extraordinary life and work. Poet, essayist, classicist, and translator Anne Carson will make remarks. Artists Kevin Beasley, Sharon Hayes, and Glenn Ligon will create editions for the occasion. Writers Brent Hayes Edwards, Lizzie Feidelson, Malik Gaines, James Hannaham, Jenn Joy, and Okwui Okpokwasili will contribute to a special program featuring cover art by Nicole Eisenman.
LEG/FLOOR/BODY/BASS, 2014, New Forms Festival, Vancouver, Canada. Photo: Nicole Gurney
Kevin Beasley performances at the High Line railyards
Untitled Stanzas: Staff/Un/Site
Tuesday, September 22, 2015
Wednesday, September 23, 2015
Thursday, September 24, 2015
Performance at 6:00 PM
High Line at the Rail Yards
On the High Line at West 30th Street and 12th Avenue
Free Admission | Open To All Ages | No RSVP Required
Kevin Beasley creates densely layered sculptures and sound-based performances that form immersive tactile experiences. With microphones embedded in cast plaster objects dragged across the gallery floor, or arranged in fleets to capture the sound of the artist’s movement, Beasley emphasizes the physical nature of sound, both in the mechanical waves by which sound travels, and in the insistence of one’s presence in the creation and experience of noise. The artist focuses on the personal memories we each bring to our experiences in both his performances and his sculptures, embedding them with objects and sounds imbued with personal experience. Beasley’s 2012 sound performance at MoMA featured the artist in the museum’s central atrium processing the voices of deceased rappers into cacophonous wails that shook the walls of the museum itself.
For the High Line, the artist will install and play a new sound composition at the 12th Avenue Overlook, on the High Line at West 30th Street and 12th Avenue. Over the few months leading up to the performance, Beasley traversed the High Line, recording sounds from around the park – from crickets chirping in the thicket at West 21st Street, to the evolving sound of various construction sites, to the meandering traffic on the West Side Highway. Beasley took greatest interest in the convergence of sounds at the rail yards, due to the wide open soundscape enabled by the lack of skyscrapers. In an attempt to engage one of the few remaining open-air pockets in Manhattan, the artist will amplify, accentuate, and process these recordings. Furthermore, each performance will be recorded and layered on top of the next, creating a changing, open-ended composition. Beasley says he imagines the work’s title as a score, each performance as a stanza, and the site as the medium or notes that fill the score.
Jonathan Monk lecture at Cooper Union
JONATHAN MONK: MAKING IT UP AS I GO ALONG, PART I
Tuesday, September 9, 2014, 7:00 PM- 8:30 PM
“British artist Jonathan Monk (b. 1969) will be talking about 100 works of his, conceived from 1992 to the present. The selection and order will be unknown to him until the presentation. The surprise of each image and work will allow him to draw new and unexpected lines and connections between works and concepts while going along through the random sequence of slides.
The lecture will be recorded, transcribed, and turned into a performance at another lecture occasion by using an exact transcript including all “hmms”, “arrrhs”, “ummms”, questions, and interruptions.”
This event is free and open to the public.
Kevin Beasley to perform at New Forms festival
September 18- 21st
Hosted by the New Forms Society and currently in its 14th year, the New Forms Festival bridges art and music in an interdisciplinary platform that includes performances, screenings, exhibitions, talks and installations by a wide range of both national and international artists. Taking place in Science World’s iconic geodesic dome, this years festival (NFF14) will commence with presentations from Morton Subotnick (co-founder of the San Francisco Tape Music Center), Stan VanDerBeek’s Movie-Drome (1963-66), and a lecture from Gerd Stern of the media art collective USCO. In the 1960s, at the cusp of a new digital age, artists like these developed the potential for new media to shift the trad limits of production and display. In giving way to more experiential forms of artistic production, their efforts, or the effect of these efforts is apparent in the fluidity between the disciplines of music, design, art, technology, and industry.
New Forms Media Society is a non-profit media arts organization founded in 2000. Each year the New Forms Media Society hosts the annual New Forms Festival (NFF). Through promoting collaborations between Canadian artists, international artists, and those working in the technology sector, NFF facilitates in the production, display and growth of new media, music, film, installation, and performance art based practices. Since its inception, an integral element of the NFF is the recognition of independent and groundbreaking artists, and those contributing to a broader understanding on new genres of art making.
Liam Gillick at Le Magasin, Grenoble
FROM 199C TO 199D
MAGASIN / Centre National d’Art Contemporain
École du MAGASIN
June 6 – September 7, 2014
For more than twenty years Liam Gillick (born 1964, U.K.) has questioned the exhibition as a phenomenon and isolated the possible markers that could define it. These include the occupation of time, the role of the institution and varied forms of collaboration. In the 1990s the most prominent of his interests questioned the dynamic relationship between artists, curators and institutions. Twenty years later he is working with curatorial students to reanimate early works from the 1990s. The first version of this process was From 199A to 199B at the CCS Bard Hessel Museum in New York in 2012.
The exhibition From 199C to 199D is a completely new development that expands upon the original exhibition. Liam Gillick has worked closely alongside the students of the École du MAGASIN – Claire Astier, Neringa Bumbliené, Paola Bonino, Giulia Bortoluzzi, Selma Boskailo and Anna Tomczak – and MAGASIN Director Yves Aupetitallot for nine months towards the reanimation of a selection of key works from the 1990s. Particular focus is upon works that articulate changes and continuities in cultural, political and social discourse over the last twenty years. The exhibition at MAGASIN expands in different way through a forthcoming publication and the official website of Session 23.
A book will be published by JRP/Ringier that includes a survey of the Bard and MAGASIN exhibitions and includes essays by Paul O’Neill and Jorn Schaffaf.
Brian Jungen at 2012 Banff Summer Arts Festival
In the Walter Phillips Gallery, Brian Jungen and Duane Linklater open their new show Modest Livelihood on August 2, a video work that follows both artists as they hunt for moose. The show is presented in collaboration with the contemporary art fair dOCUMENTA (13), which will have an offsite presence in Banff this summer
August 2, 2012
The Banff Centre, Banff, Alberta, Canada
Dog Run, dOCUMENTA (13), Kassel, Germany, 2012
Brian Jungen’s Dog Run at dOCUMENTA (13)
Canadian artist Brian Jungen’s contribution to dOCUMENTA (13) is a dog park in Karlsaue park. The facility contains sculptures that function both as tunnels and platforms for pets, as well as benches for their owners. Every week, a local dog school offers training sessions for dogs and gives short workshops for visitors on how the equipment in the dog park can be used.
view related events on dOCUMENTA (13) website