Exhibition view of Hedi Slimane’s exhibit California Song now on view the MOCA in Los Angeles. Photograph by Adarsha Benjamin.
Ever Gold Gallery in San Francisco presents Future Teller from artist artist Jessie Rose Vala. Vala is known for her site specific installations that emphasize her diverse skill with multiple media backgrounds. Future Teller is an elaborate three dimensional mythology that serves as the artist’s personal investigation into Man’s fall from ‘Paradise’, as depicted in a utopian existence. Many cultures and religions maintain a belief in a ‘Tree of Life’ or a ‘Great Tree’ that describes or reflects the human journey back to a spiritually divine existence. Vala’s prior installations have involved rebirth and decay as primary theme, and this new body of work also follows that path, examining the subject from both eastern and western perspectives. Her graphite drawings directly interact with and support the other aspects of the installation.This encompassing environment has been built through the meticulous layering of materials over a six month period between Brooklyn, NY and Portland, OR. Future Teller was conceptualized by Vala and presentation will be assisted by San Francisco based independent writer and curator, Gabe Scott. Future Teller is on view until November 25 at Ever Gold Gallery, 441 O’Farrel Street, San Francisco.
From Rizzoli publishers comes first monograph, entitled Bombs and Candy, on Kata Legrady’s works presenting a collection of drawings, photographs, sculptures, and video installations. Kata Legrady belongs to that long and bountiful line of artists for whom an object offers the stimulus for artistic thought and action. Her work takes the form of a symbolic encounter between two distinct universes: on the one side, weapons of war, and on the other, confectionary. In other words, there is a short-circuit between the lethal and the inoffensive; a tension between childhood and destruction, between carefree and suffering. The use of Smarties–those famous multicolored ‘pills’–cannot but evoke the “colored dots” used by Roy Lichtenstein to create his enlarged and framed comic strip images. With the difference, however, that these Smarties are not used to create images but to decorate weapons, covering them systematically, although this is not enough to make them unusable or unrecognizable. In the hands of the artist, machine guns, grenades and knives become strange and colorful, almost beautiful and appealing. There are also bombs of various formats and size, varying from a few centimeters to several meters. This time, they are not recovered objects, however, but sculptures of essential form covered in metallic industrial paint.
Daniel Johnston has spent the last 30 years exposing his heartrending tales of unrequited love, cosmic mishaps, and existential torment to an ever-growing international audience. Initiates, including a healthy number of discerning musicians and critics, have hailed him as an American original in the style of bluesman Robert Johnson and country legend Hank Williams. Daniel has collaborated with the likes of Jad Fair (a founding member of Half Japanese), the Butthole Surfers, and members of Sonic Youth. A prolific songwriter, his lyrics focus on a range of familiar American themes, including the joys and pains of love, the exploits of comic book characters such as Jack Kirby’s Captain America, and the allure of rock and roll. Throughout Daniel’s life as a musician, Daniel has been an equally prolific visual artist. In recent years, Daniel has gained acclaim and respect for his art that could possibly surpass his legendary status as a musician and songwriter. While at first glance, Daniel’s art might give the impression that this is the work of an “outsider” artist, Daniel’s visual work communicates the same deep content and startling impact that his songs carry. In 2006 Daniel was featured in The Whitney Museum of American Art’s Biennial. From December 3 to January 3 the Blast Gallery in New Jersey presents Lost But Free. The Art of Daniel Johnston, an exhibition of Daniel Johnston’s artwork.
Artist Keiichi Tanaami’s 1975 animation Crayon Angel will be screening in Sydney and Melbourne this week as part of the 2011 Big In Japan exhibitions.
Big In Japan, which was established in June 2009 in Australia by fashion brand Ksubi and Kirin as a platform for cultural exchange, presents Big In Japan 2011 with art exhibitions and performances by leading experimental Japanese artists in Sydney and Melbourne such as Kyozin Yueni Dekai, OVe-NaXx, Fuyuki Yamakawa, Onnacodomo and Yuko Kaseki. This year the events take place at Paddington Town Hall in Sydney (November 15 and 16) and 1000 Pound Bend in Melbourne (November 18 and 19).
Born in Glasgow in 1966, Douglas Gordon is today among the most important as well as the most influential artists of his generation. While he is famous for his films and large-scale video installations such as 24 Hours Psycho, his oeuvre also encompasses photographs, texts, sculptures and sound installations. In addition to Play Dead; Real Time, one of Gordon’s chief pieces, the MMK Museum für Moderne Kunst also has a number of other photo and video works by this artist in its holdings. Together they will provide the point of departure for the first major retrospective to be presented on Douglas Gordon in Europe since his show at the Kunstmuseum Wolfsburg in 2007. With his analyses of images drawn from the collective memory and everyday culture, Gordon exposes basic patterns of perception. Within this framework, his works often revolve around phenomena of duplication and reflection: the couple, the double, light and dark, guilt and justice, etc. His latest work is entitled k.364, which stands for “Köchelverzeichnis No. 364”, the Köchel catalogue number assigned to the Sinfonia Concertante for Violin and Viola composed by Wolfgang Amadeus Mozart in Vienna in 1779. After hearing this work of chamber music in Poznań (Poland), Gordon organized another performance of it with the well-known musicians Avri Levitan (viola), Roi Shiloah (violin) and the Amadeus Chamber Orchestra of Polish Radio. The musicians’ journey from Berlin to Warsaw by way of Poznań and the performance of the symphony in Warsaw account for the major proportion of the film. The two musicians’ conversations on their way to Poland reveal that their pasts, and those of their parents, are complexly interwoven with German-Polish relations, and above all with the history of the Polish Jews during World War II. The new film k.364 will be supplemented with the pieces by Gordon in the MMK collection and a large number of other prominent works of the past years to form a comprehensive exhibition – the first to assemble the latest works and thus to provide a concentrated and impressive overview of this multifaceted artist’s oeuvre. On view from November 19 to March 25 at the Museum für Moderne Kunst.