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Book: Dag Nordbrenden, Rub With Ashes

20 September 2012

Magazine Contemporary Culture

Dag Nordbrenden, Presentation of the book, Rub With Ashes, 2012

Dag Nordbrenden is a Norwegian artist working with photography. His work explores different concepts and genres of the medium. His book Rub with Ashes is a compilation of photographs of recent years, and reflects Nordbrenden’s nomadic lifestyle.

The photographs are rooted in a documentary tradition, and the book combines snapshot observations with more loaded, still life-oriented scenes. A diversity of themes are being played out where motifs are mixed together; landscapes, details of interiors, scenes from after a fire, museums and monuments, and some of his meetings with stray cats in Istanbul. Many images show milieus from different parts of the world, social gatherings and local events, which can be viewed in global perspective.

The book dwells at the individual, more autonomous photograph, and how these images influence each other in combinations. By interweaving the lyrical with the more political, Nordbrenden creates a space where different subject matters start communicating with each other.

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The Sound of Downloading Makes Me Want to Upload, The Institute of Social Hypocrisy

20 May 2012

Magazine Contemporary Culture

Books Culture Main No Comments

The Sound of Downloading Makes Me Want to Upload, The Institute of Social Hypocrisy, 2010
Published by Lauren Monchar & The Institute of Social Hypocrisy. Edition of 1000

Edited by Victor Boullet, the resulting collection of essays, images and musings reveals the disparate perspectives of the various up and downloaders. It illustrates how the internet is used and manipulated as a creative tool and is a font of information and communication at every level.

Contributors include Peter J. Amdam, Markus Thor Andresson, Theodor Barth, Sophie Barth, Rasmus Thirup Beck, Victor Boullet, Merlin Carpenter, Lorenzo Cirrincione, Keren Cytter, Guy Debord, Bill Drummond, Paul Andreas Enger, Matias Faldbakken, Bentley Farrington, Ullrich Fichtner, Anna Franck, Gilbert & George, Evan Haning, Nate Harrison, Iselin Linstad Hauge, Karl Holmqvist, Jason Hwang, Marte Johnslien, Ray Johnson, Brian Kennon, Svein Kojan, Adam Kurdahl, Oliver Laric, Pablo Larios, Matthieu Laurette, David Lewis, Tobias Madison, Edie McKay, Bjarne Melgaard, Han Nefkens, Hans Ulrich Obrist, Tommy Olsson, Matt Packer, Richard Parry, Dr Nina Pearlman, Thomas Petitjean, Joe Scanlan, Chris Sharp, Sutton Lane, Kristian Skylstad, Kristina Skylstad, Brad Troemel & Jonathon F. Williams.

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Oliver Laric

14 March 2012

Magazine Contemporary Culture

Art Artists Main No Comments

Oliver Laric, Kopienkritik, 2011, Skulpturhalle Basel

Oliver Laric’s work seeks to parse the productive potential of the copy, the bootleg, and the remix, and examine their role in the formation of both historic and contemporary image cultures. This process is intimately tied to his intuitive, idiosyncratic brand of scholarship, which he presents through an ongoing series of fugue-like expository videos (Versions, 2009—present), and further elaborates through his appropriated object works, videos, and sculptures, all of which are densely conceptually layered and often make use of recondite, technologically sophisticated methods of fabrication. Straddling the liminal spaces between the past and the present, the authentic and the inauthentic, the original and its subsequent reflections and reconfigurations, Laric’s work collapses categories and blurs boundaries in a manner that calls into question their very existence.

Laric (born 1981 in Innsbruck, Austria) lives and works in Berlin. He studied at the Universität für angewandte Kunst Wien. Laric’s first solo exhibition in Germany ‘Be Water my Friend’ took place at Tanya Leighton Gallery, Berlin in 2012. His video work ‘Versions’ (2012) premiered at Art Statements, Art|43|Basel (14-17 June 2012). Recent solo and group exhibitions include: alienate/demonstrate/edit, Artspace, Auckland (2012); Villa du Parc Centre d’art Contemporain, Annemasse, France (2012); In Other Words, NGBK, Berlin (2012), Lilliput, High Line, New York (2012); Frieze New York (2012); Kopienkritik, Skulpturhalle Basel (2011); Based in Berlin (2011); You don’t love me anymore, Westfälischer Kunstverein, Münster (2011); Frieze Projects, Frieze Art Fair, London (2011); Music for Insomniacs, Proyectos Monclova, Mexico D.F. (2011); Priority Moments, Herald Street, London (2011); Memery, Mass MoCA, (2011); Frame, Frieze Art Fair, London (2010); Artists’ Video, Vancouver Art Gallery (2010); The World is Flat (curated by Lauren Cornell), X-initiative, New York (2009); Unmonumental, New Museum, New York (2008). Forthcoming group shows include: Detours of the Imaginary (curated by Julien Fronsacq), Palais de Tokyo, Paris (2012); The Imaginary Museum (curated by Bart van der Heide), Kunstverein München (2012); Museum of the Image, Breda, The Netherlands (2012).

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Norwegian Painting: Christian Tony Norum

1 November 2015

Magazine Contemporary Culture

Art Artists Main 1 Comment

Christian Tony Norum, Installation view, Untitled, 2015 and Colours of All Time, 2015

A beautiful bird, a drum, the stars and the ancestors, a river, the sea, the wind and the sun. I am blinded by being a human being, searching wondering about everything and nothing. I am a universal human being that live and breath for art, poetry, performance. My main focus is painting but with all this intensity and shadow, I even have to use my self as a medium.

The problems I’m dealing with or try to solve, is how a specific painting or situation have any value or effect at all in this world. I cant change the world or solve any big problems but only believing that small organs like a catalyst can present some kind of nerve that show a little hope of healing in all this killing. Ambitious initiative, which addresses issues of storage and research in addition to exhibitions, museums-represents a substantial attempt to cement this reputation.
Possibilities available for the fundamental artists to negate, stripping away until nothing remains, or to accumulate, to embrace additively until one has reached the limit of fullness. The subversive, at the times contrarian loving and caustic, chaotic and prec—has pursued both paths at once both tendencies arc visible in the presents of artistic practice.

Working with painting, performance and sculpture I need to examine strategies and issues in post structural and modernist theories by using dialogue and communication with my contemporaries and earlier artist.
I use the art-history as a innocence open source to use this old knowledge as a catalyst for new deeper meanings and generate it into a self-reflecting understanding of how I preside the world.
Its not always a issue, its to amuse your self in this reality of ours.
The issues that already exist, or you are put into this world and by using experimental natural methods to meet this experiences with closed eyes while staring at the sun and you know what it is for what it is and that is the color orange.

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Hauser & Wirth, Art Gallery

22 March 2015

Magazine Contemporary Culture

Galleries Main 1 Comment

Hauser & Wirth is a gallery of contemporary art and modern masters, with locations in Zurich, London, New York, Somerset and Los Angeles.

Hauser & Wirth was founded in Zurich in 1992 by Iwan Wirth, Manuela Wirth and Ursula Hauser. In 1996, the gallery’s first permanent location, Hauser & Wirth Zürich, opened in the former Löwenbräu brewery building, along with other contemporary art galleries, the Kunsthalle Zürich, and the Migros Museum für Gegenwartskunst Zürich.

Hauser & Wirth opened its first London gallery on Piccadilly in 2003 with an installation by Los Angeles-based artist Paul McCarthy and, in 2010, the gallery opened a second permanent space on London’s Savile Row.

In 2006, Hauser & Wirth opened a new space at the historic premises of 15 Old Bond Street, shared with the UK’s leading old master dealer, Colnaghi. The gallery hosted two to three twentieth century and contemporary shows each year, including exhibitions of works by Louise Bourgeois, Berlinde de Bruyckere, Subodh Gupta, Henry Moore and Francis Picabia, before the space closed in 2010. Hauser & Wirth also opened an enormous temporary project space in London’s East End in 2005. Hauser & Wirth Coppermill showed exhibitions by Martin Kippenberger and Dieter and Björn Roth, Christoph Büchel and Martin Creed before it closed in July 2007.

In September 2009, the gallery inaugurated its outdoor sculpture programme in Southwood Garden, St James’s Church, London, with an exhibition by Swiss artist Josephsohn. Also in September, Hauser & Wirth opened a New York gallery in the Upper East Side of Manhattan with ‘Allan Kaprow: Yard’, an Environment first made in 1961 by Allan Kaprow, the American artist known as the inventor of ‘Happenings.’

In October 2010, Hauser & Wirth London opened their new gallery, designed by Selldorf Architects, at 23 Savile Row with the exhibition, ‘Louise Bourgeois: The Fabric Works’. In December 2013, Hauser & Wirth closed their Piccadilly gallery permanently.

In 2013, Hauser & Wirth opened their second New York gallery at 511 West 18th Street, in what used to be the Roxy. Located on the second level of a Chelsea garage, the gallery draws visitors up a long, sweeping stairway before revealing the 10,000 square feet exhibition space. Several artists contributed to the project including Björn Roth, who designed the gallery’s Roth Bar as a tribute to his father Dieter Roth; and Martin Creed, who created a custom installation for the entrance stair hall.

In July 2014, Hauser & Wirth Somerset opened on the outskirts of Bruton in Somerset. Hauser & Wirth Somerset is a gallery and arts centre focused on a core belief in conservation, education and sustainability, and is designed around several renovated Grade II-listed historical buildings as well as two new purpose built galleries on the site of Durslade Farm. Accompanied by an extensive education programme and regular artists-in-residence, the gallery aims to share contemporary art with new audiences and to engage the public with art, the countryside and the local community. In September 2014, a landscaped garden designed for the gallery by internationally renowned landscape architect Piet Oudolf was launched, including a perennial meadow that sits behind the gallery buildings.

http://www.hauserwirth.com

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