Month: July 2016

Posted on July 1, 2016

The Leo Award named after the early ICI supporter, renowned art dealer Leo Castelli, was created to recognize outstanding achievements in advancing the field of contemporary art. With the Leo Award this year, ICI continues to commemorate Castelli’s legacy by recognizing for the first time another pioneer gallerist.

This year ICI is thrilled to honor Marian Goodman, a steadfast advocate for artists and contemporary art, with the Leo Award. For half a century, Marian Goodman has shown deep commitment to fostering the careers of some of the most significant and respected artists of our times, with a distinctive vision — international in scope, thoughtful, and always intimately supportive of the creative process.

In 1965, Mrs. Goodman founded Multiples, which published prints, multiples, and books by leading American and European artists, including John Baldessari (ICI Trustee, 1994–2000), Marcel Broodthaers, Roy Lichtenstein (ICI Leo Award 1997), and Gerhard Richter. In 1977, she opened Marian Goodman Gallery with an exhibition of Broodthaers, the Belgian artist’s first in the U.S. Since then, the gallery has led the way in introducing international artists to American audiences, while also opening exhibition spaces in Paris in 1997, and most recently in London in 2014.

Past recipients of the Leo Award include Michael Govan, Dimitris Daskalopoulos, Roy and Dorothy Lichtenstein, Miuccia Prada, and Dasha Zhukova.

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ICI 2016 ANNUAL BENEFIT & AUCTION

Posted on July 12, 2016

Kaona Pongpipat reviews Apichatpong Weerasethakul: The Serenity of Madness at MAI IAM in Chiang Mai, Thailand for The Bangkok Post.

Walking inside the exhibition, however, the non-linear set-up of the works feels more like a trip from one of Apichatpong’s obsessions as a storyteller to another—the traumatic political history, the possibility of reincarnation, the presence of spirits, the persistence of folk tales, the nature of sexuality, etc. From one dimly-lit gallery to another, these short video works are installed close to one another, their lights and sounds intermingled, and there’s good ground why “madness” is the keyword in the show.

Read the rest of Pongpipat’s review here.

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Jirat Prasertsap of The Matterand Apichatpong Weerasethakul discuss what drives in creating his work, how he sees contemporary Thai society and its development, nationalism, and politics. In the interview Weerasethakul suggests that he thinks of his films as more open and interpretative, coming from his views and experience, not solely a political message or a direct social critique.

You can read the interview here.

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Posted on July 13, 2016

Posted on July 13, 2016

 

Sam Lefebvre reviews The Ocean After Nature in The Wire 390.

The Ocean After Nature provokes viewers to reconsider the contours of global capitalism. It does not explore the plaza or the town square, widely thought to have supplanted the factory floor as the foremost sites of political expression. And it does not really explore the gaseous, diffuse networks of international finance that many political-economic theorists consider the definitive feature of contemporary capital circulation. The exhibition, curated by Alaina Claire Feldman, centres instead on the transport of goods and bodies and bodies-as-goods across bodies of water, a hallmark of globalisation with a pervasive impact on everyday life that’s often neglected in the age of seemingly instantaneous commerce online.

Art that investigates the anthropocene, the period in which human activity affects all aspects of the climate, is often project- or solution-based, featuring documentation of environmental activism under the banner of social practice. The Ocean After Nature certainly emphasises the environmental and human cost of the convoluted systems implemented by companies and countries seeking market advantage and neocolonial dominance. But it’s not particularly didactic In fact, some of the strongest work is in awe of the ways humans at the periphery of global capitalism have adapted.

Visit The Wire, here, for more information regarding the August 2016 issue.

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Posted on July 15, 2016

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Radical Plastic: Artist Conversation

Posted on July 20, 2016

Can a Local Commercial Gallery Make a Difference for Artists in Ghana?
Published in The Huffington Post

by Natalie Hegert, MutualArt
March 31, 2016

Full article HERE.

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The Artist as ‘Anamorphic Stain’

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The Artist as ‘Anamorphic Stain’

Posted on July 25, 2016

Posted on July 25, 2016

 

Wendy Vogel reviews The Ocean After Nature exhibition for Frieze. In her review, Vogel explores the “meditative, essayistic approaches to the theme” of the exhibition taken by the 20 artists and collectives featured in The Ocean After Nature.

…the exhibition’s strength is in its framing of the ocean not just as a site of environmental catastrophe, but as a metaphor for all in nature that cannot be tamed. This is best expressed in works that consider the ocean’s affective qualities – as in Renée Green’s film Endless Dreams and Water Between (2009), an epistolary exchange about ‘archipelago mind’ – rather than in a single powerful image. By offering more poetic speculations than activist solutions, ‘The Ocean After Nature’ is like a diver, breaking the surface to plumb the depths of our perceptions.

Read the entirety of the review here.

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The Ocean After Nature: Book Launch and Screening