This year’s International Film Festival Rotterdam (IFFR) Signals: Regained programme is dedicated to the memory of film from a particular and contemporary viewpoint. Besides topical new documentaries this year’s Regained programme comprises a rich menu of innovative works using cinema’s history as a main ingredient. For performances and introductions within Regained, IFFR welcomes among others avant-garde maestros Michael Snow and Tony Conrad, and Hungarian filmmaker György Pálfi.
Today sees the launch of Caroll/Fletcher’s new exhibition, Orange between orange and Orange by Michael Joaquin Grey. Running until 16 February, this show marks Grey’s first UK presentation since in 1992. An American artist and inventor, Grey has engaged in a recursive, playful exploration of our concept of development and its consequences. His work represents a distinctive body of work that escapes categorisation within traditional media and tropes. Regarding himself primarily as a “social sculptor”, the artist’s practice brings together computational cinema works, sculpture, paintings, photographs, drawings and installations to present an alternative cosmology that provokes viewers to reconsider the origins and consequences of the forms and frames of life.
This Swiss-Danish artistic couple create decorative sculptures and installations known for their humour and subversion. Ronnie Yarisal and Katja Kublitz met at Central Saint Martins in London and after graduating moved to Berlin where they have started a family. Their most recent exhibition at Gerhardsen Gerner Gallery in Berlin focuses on exploring material, sexual and spiritual desire through ornamental pieces. Here is a film at their home and studio, exploring why investing in both love and art can be a risk.
“Any understanding of social and cultural change is impossible without a knowledge of the way media work as environments”, says a pull quote in issue four of Aspen magazine, the issue that was guest edited and by Marshall MacLuhan and designed by Quentin Fiore in 1967. The second part of this quote could be a motto for Aspen, as it went far beyond any other magazine would or could go in striving to become an environment. Each issue was a box set containing a plethora of printed items in multiple formats along with records, slides and cine film to be projected, and cardboard models to be built. Perhaps better to think of Aspen as an experiment in postal art, as an exhibition in a box, than a magazine. The magazine was sold only by subscription, so readers would have no idea what to expect before opening each issue. We can imagine the mixture or pleasure, confusion and discovery that would occur while exploring the contents.
Nothing to declare? World maps of art since ’89, is the new documentary project scale exhibition devoted to the global processes of change in the art world since 1989, opening on 1 February at Akademie der Künste. The geopolitical change that took place in 1989 ushered in an era of worldwide biennales, whose geography bid farewell to Western Art, with its old contradiction between the centre and the periphery. With this theme as an art metropolis Berlin presents the world in the context of a reorganisation of the art scenes.
Applauding China’s young artists, the Ullens Center for Contemporary Art opens its 2013 programme with ON/OFF: China’s Young Artist’s in Concept and Practice. Beginning on 13 January, the show will take over all of the UCCA exhibition spaces and the exhibition marks the most comprehensive survey to date of the generation of artists born after the death of Mao and the end of the Cultural Revolution. The showcase takes on gigantic proportions and will feature 50 commissioned works by 50 artists and artist groups. Entitled ON/OFF in reference to the graphical interface of a common VPN (virtual private network) software used to scale China’s Internet firewall, the exhibition is an attempt to document a new generation of artists.
The art scene in Birmingham has been given a new lease of life. Alongside the main commercial galleries there has been an abundance of lesser known exhibitions orchestrated by recent graduates and students as well as emerging artists and curators from the city. This mainly takes place in Digbeth, where studios and exhibition spaces are easily and cheaply occupied. But what happens when a gallery decides to put on an exhibition where the work only exists in a metaphysical state? Grand Union’s latest show (On) Accordance is a unique transgression between the online world and a purposefully directed gallery.
For the final installment of the Canary Wharf Screen, Art on the Underground collaborate with the BFI to screen a season of films showcasing previously unseen footage, rare and restored film, and newer experimental works by some of today’s most renowned British moving image artists. The ticket hall of Canary Wharf tube station has been infiltrated by the BFI screen since December 2012 and will remain to entertain commuters until March 2013, all in celebration of the 150th anniversary of the London Underground on 10 January.
Photographer Rich Gilligan’s new new body of work focuses on the phenomenon of the guerilla skatepark. His debut photobook entitled DIY is the fruit of a four year labour of love in which Rich travelled extensively photographing these ephemeral constructions. DIY gives a fascinating insight into this subculture as well as a new expression to skate photography. Aesthetica chatted with Rich about this new body of work.
With a wry humour and sharp wit, Bedwyr Williams continues to reflect on the human condition, from personal narratives to art world and cultural phenomena. The exhibition feels like a tour around Bedwyr’s mind, his humour, his fears, his annoyance and bugbears. Working with film, sculpture, performance and drawing, the exhibition and accompanying performance displays the whole range of Bedwyr’s output.
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Opening on 18 January, The Quest for the Man on the White Donkey, is a series of Yaakov Israel’s stunning photography. Choosing his home nation and the place with which he shares his name, Yaakov takes his viewers on a geographical and personal journey into Israel. Inspired by a chance encounter with a Palestinian man who rode past while Yaakov was working near the Dead Sea, the title of the exhibition refers to the “Messiah” in the Orthodox Jewish tradition who will arrive riding on a white donkey. Running until 13 April at Impressions Gallery, the images take a more peaceful look at a landscape in turmoil.