Mobile Homestead is a permanent art work by the late Mike Kelley located on the grounds of the Museum of Contemporary Art Detroit. It’s both a public sculpture and a private, personal architecture – based on the artist’s childhood home on Palmer Road in Westland, a neighbourhood which primarily housed workers for the Big Three auto makers: Ford, Chrysler and General Motors. In a largely disinvested city with many abandoned houses and dilapidated buildings, Mobile Homestead enacts a reversal of the ‘white flight’ that took place in Detroit following the inner city uprisings of the 1960s. It does so at a time when the city is exploring new options of renewal by assessing its singular post-industrial conditions in an attempt to articulate a new model for American cities. The sculpture, which almost exactly replicates the vernacular architecture of working class neighbourhoods in the American Midwest, brings the suburbs back into the city, and as it travels – on specific missions – the mobile home performs various kinds of community services, establishing a permanent dialogue with the community that houses it.
The current exhibition at Brescia’s Museo di Santa Giulia, From Albers To Warhol (To Now), presents the Daimler art collection. Although this collection has never before seen in Italy, it has already traveled to museums in Singapore, Sao Paulo, Tokyo, Cape Town, Johannesburg, Buenos Aires and Vienna. The collection, consisting of more than 2000 works of art, a selection of which fills 12 rooms of the second floor of the Museum, is situated amongst the backdrop of Roman ruins and picturesque mountain ranges. The work focuses primarily on abstract aesthetics and spans the 20th century in a wildly compelling manner.
In its seventh year, The Catlin Art Prize opens an exhibition at the Lononewcastle Project Space, 2 – 26 May. Featuring the nine finalists from The Catlin Guide 2013, each of them have produced a new piece specifically commissioned for the Londonewcastle Project Space. The exhibition includes large-scale painting from Steven Allan (Royal College of Art) and Bee Griffith (Goldsmiths), sculpture by Conall McAteer (Central St Martins), new photographic portraits by Juno Calypso (London College of Communication), installations by Terry Ryu Kim (Slade School of Fine Art) and David Ogle (Lancaster University), a marathon performance piece by Nicky Deeley (Royal College of Art) and contrasting approaches to filmmaking from Fatma Bucak (Royal College of Art) and Robert Crosse (Slade School of Fine Art).
The traditional white cube gallery space comes with a cultural set of definitions and rules, it’s a set interaction between viewer and art object, with the object presented for the viewer to contemplate, there is a predetermined level of participation, which often makes it hard to negotiate, both from the experienced and casual gallery visitor. Keeper(s) investigates the gallery space, the role of the artist and the participation of the viewer. When we enter the space we are given the opportunity to interact, with the exhibition becoming a malleable object which shifts and changes with each encounter.
Showcasing the work of one of the UK’s most acclaimed potters, The Matter of Life and Death is a new installation by Julian Stair, opening at York St Mary’s 10 May. Exploring the rituals surrounding death, and their place in human history, the works have been created in response to ceramics from the collections of York Museums Trust, including pieces over a thousand years of age. The exhibition features more than 30 works, varying from Egyptian canopic jars to Roman head pots, which will provide inspiration for Stair’s own pieces.
Milan’s Gio Marconi Gallery’s latest offering is Quality Interiors by Nikolas Gambaroff, which runs until 18 May, and sees the New York-based artist’s first solo show at gallery. The show is comprised of new works including a collaboration with designer and Nilufar Gallery owner Nina Yashar, as well as a staple marks from his Gambaroff’s career to date.
When an important, popular figure dies, fans seem to need more than their legacy – more than their work – to remember them by, to cling to them through. Physical mementoes, objects – things which that specific person touched, used, loved – are obsessed over; particles of skin and saliva on a napkin George Harrison used take on strange importance. Voyeurism and celebrity obsession have grown to a point now where people are paying up to $15,000 for a pair of stained underpants worn by Elvis Presley, a rumoured million for a pair of John Lennon’s glasses, and, perhaps most bizarrely, $45,000 for a set of three X-rays of Marilyn Monroe’s chest. However, this strange obsession we seem to have with the physical remnants left in the wake of our popular icons can be traced back a surprisingly long way. Darwin’s beard, for example, Abraham Lincoln’s hair and even Galileo’s finger have survived decomposition and remain, today, preserved behind glass for us all to gawk at.
Trade Routes have connected the major centres of civilisation in Europe and Asia since antiquity. These routes not only made the exchange of goods possible, but also fostered cultural exchanges between distant regions. The group exhibition, Trade Routes‘, on view at Hauser & Wirth in Piccadilly, presents a diverse picture of where these trade routes stand in today’s globalised society through the lens of 15 artists. The exhibition features video installations, sculptures and two-dimensional works by artists based in Africa, China, Europe, India, and the Middle East including Adel Abidin, Fatima Al Qadiri & Khalid al Gharaballi, Alighiero Boetti, Monir Farmanfarmaian, Subodh Gupta, Gülsün Karamustafa, Bharti Kher, Rachid Koraïchi, Lee Xe, Maha Malluh, Bettina Pousttchi, Hassan Sharif, Wael Shawky and David Zink Yi.
Diffusion: Cardiff International Festival of Photography is a city-wide event, featuring exhibitions, screenings, performances and events showcasing outstanding photographic work from around the world, and providing a major new platform for Welsh artists. Hosted by Ffotogallery, the month long celebration (1 – 31 May) of photography includes highlights such as the world premiere of award-winning filmmaker Gideon Koppel’s B O R T H and Lure, a major exhibition of new work by Helen Sear, another of Wales’ most important and insightful artists.
The Drives is Paul Pfeiffer’s third exhibition at Thomas Dane Gallery and he brings together a large sculpture, two video installations and a series of photographs. Running 26 April until 25 May, these works form an investigation into the emotional drives that prompt human behavior and lie behind our attempts at understanding and organizing the world around us. From the seemingly perfect and ritualistic architecture of mass spectacles, to the creation of animal communities, to the deceptive secrecy of the family cell, the tensions between these two categories arise throughout Pfeiffer’s works.
Uniting international art under one roof, Art Monaco opens today. Offering more flexibility to their audiences they present a show in Barranquilla, Columbia simultaneously and launch a digital event online. For their fourth edition, Art Monaco hosts a special four day event in The Grimaldi Forum, one of the most prestigious convention centres in Europe. Adding to the wonderful venue itself, the event exhibits some of the most sought out and distinctive pieces of art, undoubtedly complimented by the beauty and breathtaking scenes that the Principality of Monaco is so well known for.
The four artists handpicked by Tate Britain shortlisted for the Turner Prize 2013 have been announced this morning. The artists are (in alphabetical order): Laure Prouvost, Tino Sehgal, David Shrigley and Lynette Yiadom-Boakye. This year the exhibition will be held at Ebrington in Derry-Londonderry as part of the UK City of Culture 2013 from 23 October until 2 December. The winner will be announced in an awards ceremony on 2 December.