100 Jahre Bauhaus at Akademie der Künste / Berlin, Germany


100 Jahre Bauhaus. Das Eröffnungsfestival

A colourful explosion of the arts in Berlin to kick off the Bauhaus anniversary in 2019

16 – 24 January 2019

Akademie der Künste
Hanseatenweg 10
10557 Berlin


Das Triadische Ballett, Bayerisches Junior Ballett München, photo: Wilfried Hösl

100 jahre bauhaus. Das Eröffnungsfestival, exhibition view, photo: Severin Vogl

be water again at koraї / Nicosia, Cyprus

be water again 

Participating artists:
Eleni Bagaki, Maurizio Bongiovanni, Lito Kattou, Orestis Lazouras, George Henry Longly, 
Theo Michael, Petros Moris, Eleni Odysseos, Anastasia Pavlou, Theo Triantafyllidis

Curators:
Panos Giannikopoulos & Theodoulos Polyviou

21.12.2018-11.01.2019

koraї | project space
6-8 Korai
1016 Nicosia, Cyprus 

                                     
                                     

Julie Monot at Arsenic / Lausanne, Switzerland

Julie Monot

Green Room
curated by Elise Lammer for Alpina Huus

17 — 26 January 2018

ARSENIC
Centre d’art scénique contemporain
Rue de Genève 57
CH-1004 Lausanne



The most successful couple of the epoch at Cabinet / Milan

Christian Jankowski, Matyáš Chochola / The most successful couple of the epoch 
curated by Maria Chiara Valacchi

November 15, 2018 - 16 February 2019

Cabinet
Via Tadino 20
20124, Milan

Camilla Wills at Une, Une, Une / Perpignan, France

Camilla Wills

In Light Of
8 December 2018 - 18 January 2019

une, une, une
25 rue des Augustins
Perpignan - France


Pictures by Justine Roquelaure, courtesy of the artist and une, une, une.




1Ensemble at Cathouse Proper / Brooklyn, NY

1Ensemble

A group show of works intuitively arranged (along with some decorative details) from the multiplicity of knowing and relations.

with Paolo Piscitelli, Manuela Filiaci, (fire), Danilo Correale, Leslie Brack, James Hyde, Tariku Shiferaw, Tribble & Mancenido, Carl D'Alvia, Gwenn Thomas, Luisa Rabbia, Jodie Manasevit, Nicola Ginzel, Shari Mendelson, Daniel Swanigan Snow, Aga Ousseinov, Jeannie Weissglass, Farideh Sakhaeifar, Camel Collective, (a hole in the whole)

December 1, 2017—January 13, 2019


Cathouse Proper @ 524 Projects
524 Court Street (entrance on Huntington St., 2nd fl.)
Brooklyn, NY 11231



Bea Bonafini, Maje Mellin and Bernice Nauta at JosédelaFuente/ Santander, Spain

Bea Bonafini, Maje Mellin and Bernice Nauta / I'm not an island, I'm a body of water 

22 November, 2018 - 2 February, 2019


JosédelaFuente

C/ Daoíz y Velarde, 26
29003 Santander, Spain





Bernice Nauta

Maje Mellin

I’m not an island, I’m a body of water
by Niekolaas Johannes Lekkerkerk
I, neutral cockroach body, I with a life that at last doesn’t escape me because I finally see it outside of myselfI am the roach, I am my leg, I am my hair, I am the section of whitest light on the plaster of the wallI am every hellish piece of melife in me is so demanding that if they hacked me up, like a lizard, the pieces would keep trembling and squirming. I am the silence engraved on a wall, and the oldest butterfly flutters and finds me: the same as always. From birth to death is when I call myself human, and shall never actually die.1
–Clarice Lispector, The Passion According to G.H.

           The idea of the human possessing and presiding over a body has become a contested idea of late. That is to say, the body as a stable entity and unit of reference has become disputed insofar as we are witnessing an increased need for the interdependence between life forms and modes of being, in times at which the stable backdrops for our living and working practices have become equally unstable, or ceased to exist altogether. Simultaneously, in the words of philosopher Rosi Braidotti, our very embodiment is a limit, as wall as a threshold; our flesh is framed by the morphology of the human body, it is also always already sexed and hence differentiated.2 The exhibition I’m not an island, I’m a body of water presents the work of three artists that investigate this paradoxical and conflicting state: the human body as an inescapable limit and threshold, faced with a growing consciousness that the anthropocentric feedback loop through which its worldview is objectified does no longer come full circle.
            A shared marker between the works and practices presented would be a movement to the radical materiality of the body; the idea that the entire body thinks. One does not think with the mind solely; one thinks with the entire fleshed existence.Here the body engages in acts of mutual interdependence, in collaborations and symbiotic relationships with the minerals, microbes and all the revolving cells that enable its subsistence over time. Our skin is porous, its fabric made of and enabled by its many-headed constituent elements. The skin as a porous organic boundary, placing our bodies in a direct connection with the environments in which we are situated, and in which life is produced. As living forms are not simply found in a given environment, but rather have ended up making it (and that includes humans).
            The aesthetic registers employed in the work of Bea Bonafini are informed by and reminiscent of those manmade environments defined by concepts and notions of comfort, decor and domesticity. Transposed to the time and space of the exhibition, one may however experience a certain unease to the extent at which the visiting body is intimately implied and considered integral to the attraction value of these works, and is somehow withheld to comply with their luring and sensuous requests. Balancing between functionality and aesthetic, the perception raised may be one of the human resting all too comfortably in its category of being, whereas the relationship between the body and the work is constantly in the process of becoming.
            The artistic practice of Maje Mellin is haunted by ghosts (and their anatomy), jellyfish and worms, disembodied heads and other body parts. One could argue that Mellin employs the act of drawing as an  expanded site for the embrainment of the body and the embodiment of the brain: simultaneously expanding the medium mentally and manually, unhinging the morphology of different bodies, decontextualising and relocating them into a narrative—not necessarily linguistic in nature—space of speculation and fabulation, inhabited by different poetic characters. A space in which drawn objects become their own subjects.
            Perhaps not dissimilar, the work by Bernice Nauta is inhabited by characters. Or, in other words still, the works are relics and remainders from the stories of the protagonists she puts forward in her practice. These characters—with traits, characteristics and essentially lives of their own—form a fictional autobiography, found somewhere on the distorted conjunction of a mirror and an encyclopaedia. In portraits and scenes, videos, fictional newspapers, sculptures and fabricated props, she shows glimpses of the characters, in which the viewer is invited to construct and knit together the shattered story lines. As a merger between a partially reflected self-image of the artist and a group of fictitious characters (that seem mighty real nonetheless), the work becomes grounded in the idea of the subject and the self as being an unstable category. Personality and selfhood are fragmented; a single mind fraught with countless heteronyms possessing agency of their own.

 __________
1 Clarice Lispector, The Passion According to G.H. (London: Penguin Classics, 2014), 60.
2 TimotheusVermeulen,“Borrowed Energy,” frieze (November 16, 2018), https://frieze.com/article/borrowed-energy.
3 TimotheusVermeulen,“Borrowed Energy,” frieze (November 16, 2018), https://frieze.com/article/borrowed-energy.
 .

 .

Cole Lu at 77 Mulberry / NY

Cole Lu

Augusta Prima
November 17, 2018 - January 14, 2019

77 Mulberry st. #12 (4th floor)
New York, NY 10013



you said it’s just a glance behind, swallowing grunt, the heap an ark afloat in short-breathed staircase (Time Machine Modulus), 2018
Amprobe recorder, lumber, metal, birch, helmet, binoculars, lightbox, transparent sheet,
blind embossment
35 x 24 x 38 in/ 88.9 x 60.96 x 96.52 cm


Pakui Hardware at Bielefelder Kunstverein / Bielefeld

Pakui Hardware / Extrakorporal curated by Thomas Thiel 

November 17th 2018 – February 24th 2019

Bielefelder Kunstverein
Welle 61
33602 Bielefeld
Germany



Lea Managil at LAS PALMAS / Lisbon, Portugal


Lea Managil / Breathable objects

13 December, 2018 - 12 January, 2019


LAS PALMAS

Rua Francisco Tomás de Costa. Nr 34B
1600-094 Lisbon, Portugal 



Interview: A conversation with Hannes Schmidt from Schiefe Zähne / Berlin

 I first met Hannes Schmidt when he had just opened Schiefe Zähne in April 2017 with a show by Lukas Quietzsch.
Now, almost two years later, we meet again to have a conversation about the gallery’s status and progress, Hannes’ previous projects and the current show; a beautiful painting exhibition by Tom Humphreys.
As for SZ’s future plans, upcoming at the gallery is a show by Olga Pedan and Charlie Froud opening on February 22nd, followed by a show by Nikolas Gambaroff. 

-Tula Plumi

Hannes Schmidt



TP: Schiefe Zähne, means crooked teeth. How did you come up with this name?

HS: Schiefe Zähne is a comment I made in a conversation with my girlfriend, Sophie Reinhold, trying to describe what I felt the gallery should be all about. I was thinking of other names at the time. Sophie mentioned the comment to Lukas Quietzsch and they convinced me I should stop making up names cause it was already there.
SZ is not a fixed term. For me it symbolically speaks of differences, errors and inconsistencies as an important quality within art. I guess that’s what I care for.

Installation view, Scanners, Tom Humphreys at Schiefe Zähne

Chris Domenick at 14a / Hamburg, Germany

Chris Domenick
The Porch The Open
November 21, 2018 – January 9, 2019


14a
Elligersweg 14a
22307 Hamburg
Germany





Ian Waelder at L21 / Palma de Mallorca

Ian Waleder / Das Kniegelenk

November 10, 2018 – January 11, 2019

L21 Gallery
Carrer Gremi de Ferrers, 25
07009 Palma, Balearic Islands




Ittah Yoda at Sprout Curation / Tokyo

Ittah Yoda / a body alights - a fragmented memory

15 December 2018 - 20 January 2019

Sprout Curation
5-1 Nishigokenchō
Shinjuku-ku, Tōkyō-to 162-0812
Japan



Giulio Saverio Rossi at CAR DRDE / Bologna

Giulio Saverio Rossi / Ogni cosa rappresa

November 17 - 12 January 2019

CAR DRDE
via Azzo Gardino 14/a
IT-40122 Bologna

Tom Worsfold at Castor Projects / London

Tom Worsfold / Models

December 1 - 19 January 2019

Castor Projects
Enclave 1
50 Resolution Way
London, SE8 4AL

Bitches Talkin at Black Ball Projects / NY

Bitches Talkin

works by ET  
(Tamar Halpern & Eileen Quinlan)

November 28, 2018 – January 20, 2019

Black Ball Projects
374 Bedford Ave
Brooklyn


Form Me, by ET,  2018, Silver Gelatin Print (unframed), 16” x 20”





I Do Magic, by ET,  2018, Silver Gelatin Print (unframed), 16” x 20”

Basic Extinct at Silicone, espace d’art contemporain / Bordeaux

Basic Extinct 

December 14th 2018 – February 18th 2019

Participating Artists: Pierre Clément, Michele Gabriele


Silicone, espace d’art contemporain
33 Rue Leyteire
33000 Bordeaux
France




Moch Hahn and Liza Lacroix at PEANA / Monterrey, Mexico

Moch Hahn and Liza Lacroix / We tried it and it's True 

9 November, 2018 - 10 February, 2019


PEANA

Via Clodia 169
SPGG, Monterrey, Mexico 


Moch Hahn

In conversation with Eva Gold

at the Royal Academy of Arts, London, United Kingdom

María Gracia de Pedro in conversation with Eva Gold.

A few weeks ago I had the pleasure of meeting Eva Gold, currently in the 3rd year of the Postgraduate Program at the Royal Academy of Arts in London. I asked her few questions in order to get closer to her practice. 

Eva Gold, born in Manchester, is one of the youngest artists at the RA Schools – a free, full-time recognized program where hundreds of artists apply every year. She previously graduated from Goldsmiths, where she studied a BA in Fine Art & Art History.

Her practice is both conceptually and materially driven. Indeed, she affirms that for her, it’s very relevant to make things that make her happy, and art is one of those things. The body is a constant in her works, connected to feelings of desire and pleasure, but also shame, disgust and humiliation. When I got into her studio, I felt overwhelmed by the set up that I found, where differentnon-bodies were filling the space. Gold recreates these shapes, inspired by the human body but never making a proper figure.

MG: When did you start making art?

Heedful Sight at Foothold - Like a Little Disaster / Polignano a Mare

Heedful Sight curated by Mattia Giussani

November 25th 2018 – January 20th 2019

Participating Artists: Joachim Coucke & Maurizio Vicerè

Foothold / Like a Little Disaster
Via Cavour, 68
70044 Polignano A Mare 
Bari
Italy





Maria Rojas at Antonia Puyó / Zaragoza, Spain


María Rojas / ◞◞◯̊◯◟◟ 

28 November, 2018 - 19 January 2019

Galería Antonia Puyó
C/ Madre Sacramento, 31
50004, Zaragoza, Spain



DL Review: Furies at Helena Anrather / New York

Furies / Helena Anrather 

November 15 - 22 December 2018

Susan Classen-Sullivan
Vanessa Gully Santiago
Marka Kiley
Hayley Martell
Catalina Ouyang
Victoria Roth
Michelle Segre
Miriam Simun
Vanessa Thill
Kristin Walsh

HELENA ANRATHER
28 Elizabeth St.
NY, NY 10013

Rage and rhetoric are a product of the same substance, both directing the gaze towards the ephemeral.
If the first one often has its legitimate nature in an outraged answer to abuse, the latter drowns in a moralistic consolation that ends up tripping over the tangle of its own complications.
But “Morality is always asymmetrical, it generates as an expression of unbalanced strengths, not of ethics .
It mistakes emancipation with conquer and transforms public disdain from resource to simplification. Thus saving the trouble of a resolution.

But the unresolved remains and echoes endlessly, finding again the urge to manifest in the fury that belongs to it.
“Furies” is a show that escapes from a certain moral subjectivism and embraces the convergence of conflicting feelings, all from a female point of view.

The exhibited works share the same mood – awareness and vulnerability, but also an invitation to look to them for new healing tools.
An example is the disturbing tension sculped in Collapsed Corpse 3 [2016] by Susan Classen-Sullivan or Terrarium II [2018] by Catalina Ouyang.
Mutual [2018] by Vanessa Gully Santiago condenses the irony and sterile apprehension that outline the private sphere of her female characters.
The entangled shapes of the work of Brooklyn based Victoria Roth look like darting muscles, just as Nine Bridgled Nights [2018] by Vanessa Thill and Clock #6 [2018] by Kristin Walsh embody a deep sense of corporeity.
While New Pet [2018] by Michelle Segre, Fighter [2018] by Hayley Martell, Making Human Cheese [2011] by Miriam Simun, the penciled wall text [2018] by Hayley Martell all contribute to outline a scenery where allegorical and didactic chase each other in search of new forms of resistance that escape the risk of banality, which is natural to all categorizations.

- Marialuisa Pastò