Commissioned from M/M (Paris) to celebrate both their twentieth anniversary and the publication of the definitive monograph of their work, the exhibition of elaborate rug designs acts like a condensed catalogue – or Carpetalogue – for M/M’s practice. Michaël Amzalag and Mathias Augustyniak originally established M/M (Paris) as a graphic design studio in 1992. Their close associations with the music, fashion and art worlds have led to their becoming one of the most distinctive and acclaimed creative voices of their generation, within graphic design and beyond. The hand-knotted wool carpets, specifically produced for the exhibition by Abhishek Poddar in Varanasi, India, will be sold as limited editions through the gallery. The monograph, M to M of M/M (Paris), written by Emily King, designed by Graphic Thought Facility and with a foreward by Hans Ulrich Obrist, will be published by Thames and Hudson and launched during the exhibition. M/M (Paris) Carpetologue 1992 to 2012 will be on view until December 15 at Libby Sellers Gallery, 41, 42 Berners Street, London.
Private—a word from the past, or so it would seem these days. A word of hardly any relevance in an era when everything—from one’s favorite recipe to one’s current relationship status—is posted on Facebook. Exhibitionism, self-disclosure, the delight in telling stories, showing off, and voyeurism are the social strategies in today’s world—a world that has long since undergone a structural transformation of the public sphere. In contemporary art, domestic scenes and personal secrets are mirrored in photographs, Polaroids, cell phone photos, objects, installations, and films. The familiar and intimate are put in the picture. Through a consideration of numerous contemporary approaches the Schirn investigates the dwindling private sphere and the “publicness of the intimate.” Aiming her camera through a rear courtyard window, Merry Alpern captures blurred scenes of hurried sexual encounters; in his romantic video piece Akram Zaatari explores an online chat between two men; and Fiona Tan combines private snapshots from different countries to create large tableaux. The exhibition undertakes memorable excursions to the fragile borders between the self and the other. Other artists include Dash Snow, Mark Morrisroe, Ai Weiwei and Marilyn Minter. Privacy will be on view from November 1, 2012, to February 3, 2013 at the Schirn Kunsthalle, Romberg, 60311 Frankfurt
Israeli artist Shai Yehezkelli’s painting is busy, rhythmic and fast, wild and free. He works on various surfaces, some of which he finds in the street, and his paintings shifts from “bad painting” to subtle poetic touches. His palate is full of pinks and reds, as if leaping out of a painting by Mattisse. The images span a wide range of references and quotations, each of them disrupt or alter the source; the pitchers look like disrupted quotes of still life painting. Yehezkelli paints with and within art history, but also beyond it. Rough handwritten captions, sometimes written in Hebrew and sometimes in English, convey political and inter-textual messages. When all of those are displayed side by side, the aggregate of captions and titles turn into a discourse on art, which is as valuable as the language of the painting itself. An exhibition of new works entitled Forever Sweat-Beads will be on view from October 18 to November 24, at Julie M. Gallery, 10 Betzalel Yafe St, Tel Aviv, Israel
Paul McCarthy’s White Snow Head at Hauser & Wirth at Frieze Art Fair, London 2012. Sold for 1.3 million.
Jim Lambie ‘Untitled’ (2012) at Sadie Coles HQ at Frieze London 2012. photograph by Linda Nylind
Walter Pfeiffer’s Scrapbooks from 1969 to 1982 are a very unique Wunderkammer (cabinet of curiosities). Pfeiffer’s Polaroids and photographs alternate with miscellaneous objects – newspaper clippings, postcards, packaging, tickets – and brief punning notes. Pfeiffer assembles all of this into a large collage full of surprising references and comparisons that is both a visual diary and creative foundation of his artistic work. In his scrap books, Pfeiffer’s keen view of Eros, Zeitgeist and popular culture, his disrespectful humor as well as his appreciation for the poetry in the mundane and banal, are sharply revealed. They offer a view into Pfeiffer’s meandering and playful universe and are a contemporary document that captures the Zeitgeist of the 1970s and 1980s with ephemeral elegance. Walter Pfeiffer’s Scrapbooks 1969-1985 is available now on Motto Books.
Yayoi Kusama’s Flower that Bloom Tomorrow at Frieze London 2012 in the Sculpture Park on view until October 14. photograph by Linda Nylind
Peter Liversidge’s Everything is Connected at Frieze London 2012 in the Sculpture Park on view until October 14. photograph by Linda Nylind
Artist and skateboarder Stephen McClintock in NYC, his show Happiness is Expensive is currently on view at Inkwell Gallery until October 29, 40 W. 23rd Street. photograph by Jennifer Mulhare
James Fuentes gallery presents an exhibition of photographs by Jonas Mekas. Images out of Darkness recounts the years that Jonas Mekas and his brother Adolfas lived in Wiesbaden, Germany , in a displa ced persons camp. In 1944, a rrested by the Nazi’s a s they fled Lithuania, the brothers were placed in a forced labor camp where they worked in a machine factory.The brothers escaped and were detained near the Danish border where they hid on a farm for two months until the end of the war. After the war, they lived in displaced persons camps first in Wiesbaden and then in Kassel/Mattenberg. Between 1946-48 Mekas studied philosophy at the University of Mainz, the brothers immigrated to New York City in 1949 with assistance from the UN. Two weeks a fter his arrival in New York Jonas borrowed money to buy his first Bolex camera and began to record brief moments of his life. Mekas is considered a pioneer of diaristic cinema and a “god father to American avant-garde cinemat, his commitment to life as subject continues to this day and he has had exhibitions in major cultural institutions across the world. Images out of Darkness marks Jonas Mekas’ first visual essay. Jonas Mekas: Images Out Of Darkness, Images of A Displaced Person, Post War Germany 1945 to 1949 will be on view until October 28 at James Fuente Gallery, 55 Delancey Street, New York