Kein Wunder, dass Bunny Rogers zum Shooting-Star der zeitgenössischen Kunst wurde: Die junge Amerikanerin beherrscht das Spiel der Identitäten. Und sie weiß, wie verletzlich und verlassen sich die Jugend fühlt. Read in German on museumsjournal.de.
Wenn der Hamburger Bahnhof ab morgen wieder offen haben sollte, dann wartet dort eine Ausstellung auf Sie, die Ende Oktober nicht mal eine Woche lang fürs Publikum geöffnet war, bevor der Lockdown das Museum für Gegenwart schloss: “Bunny Rogers. Self Portrait as clone of Jeanne D’ Arc.” Listen in German on Radio Eins.
L’artista svizzero espone nella galleria barese Spazio Nico: due giorni di apertura, prima del nuovo lockdown, e poi tutto trasferito in rete. Read more in Italian on Corriere del Mezzogiorno.
It is 3:17 am as I start writing this column. I went to bed early, maybe a little after 10 pm. We were all in bed early: our daughter, with a flashlight-like projector (a late Christmas present), beamed images from space onto the ceiling and told us stories. Read more in Flash Art.
When asked to comment on her first NFT drop, Cortright said “I was born to make NFTs”. Her statement captures an important truth: for digital-native artists, NFTs simply provide a new format for their work. The artist has welcomed the increasing acceptance of the digital workflow and creating an NFT felt like an extension of her practice. She explains: “My workflow is almost set up as an NFT anyway”. Read the full interview on Superrare.
Inspired equally by centuries-old Chinese culture and forward-reaching technologies, artist Lu Yang’s practice seeks common ground between vastly different ways of seeing the world. Read more on artnet news.
The Berlin-based gallery Société now represents Darren Bader in collaboration with Andrew Kreps Gallery, Sadie Coles HQ, Galleria Franco Noero, and Blum & Poe. Read more on ART news.
In the latest exhibition ‘MS AGONY’ by American artist Bunny Rogers, currently on view by appointment at Société Berlin, Rogers grapples with identity and addresses themes of sensitivity and vulnerability, friendship and community (online and IRL) and alienation and outsidership: all through the lens of her childhood. Read more on Berlin Art Link.
So zum Beispiel bei Société in der Wielandstraße, wo bis Ende Januar die amerikanische Künstlerin Bunny Rogers ihre Ausstellung „MS Agony“ zeigt – in Räumen, die sich nahezu komplett durch das Schaufenster erfassen lassen. Read more on Der Tagesspiegel.
We talked with Petra Cortright about leaving ruins around the internet, desktop wallpapers, and the various terminologies attached to her work. Read the full interview on superprojectsnyc.cargo.site.
Long-term global partner of Art Basel, BMW, and the virtual and augmented reality company Acute Art are coming together this week to present the high octane and future forming artwork of digital artist Lu Yang. Read more on Highsnobiety.
Gleich drei Varianten von Appropriation Art werden derzeit ausgestellt, angefangen bei der postmodernen Ikonoklastin schlechthin, Elaine Sturtevant. Read more on taz.
Radical, historical and hysterical, her Instagram is a universe of technical images, like the wild, grotesque “Uterus Man” (2013) or the delirious “Lu Yang Delusional Mandala” (2015), featuring the artist as a post-gender humanoid who seems to achieve mortality through digital means. Where her installations are enveloping and exhilarating, her Instagram feed offers snippets of her manic and visionary work. Read now on The New York Times.
Sturtevant (1924–2014) is an American artist whose iconic series Warhol Flowers (1970) is in full bloom at the gallery Société in Berlin. The small and dainty, variously colorful silkscreen works-on-canvas hang on the white walls like postage stamps. Yet the simple, clean hanging of the exhibition (which in my view is perfect) reveals nothing of the convolution the works involve. Maybe it would not do to mount an exhibition in an elaborate setting for a complex artist: These are the silkscreen series of Andy Warhol “by” Sturtevant. Read more on Talking About Art.
Eine Künstlerin geht Mitte der 60er Jahre zu Andy Warhol und sagt: “Hey Andy, wie machst Du das mit deinen Bildern? Ich will das genauso machen!” Und Andy so: “Hier, nimm sie doch mit, kannste nachmachen.” Der Name der Künstlerin: Elaine Sturtevant. Listen in German on radio eins.
Emblematic of the museum’s endeavor overall is gallery 209, a mini-exhibition titled “Search Engines” on the second floor, which houses art from 1970 to the present. Including works from the first two decades of the new millennium, it focuses on the historic 1998 launch of Google. It studies the way that artists have responded to the internet’s penetration into every aspect of our lives, not only with new-media works like Petra Cortright’s VVEBCAM (2007), which was created for YouTube and is on view at the museum for the first time, but also with handcrafted pieces that react to our new reality, such as Gabriel Kuri’s 2005 piece Untitled (Superama II), a woven, wall-hung work that reproduces a receipt from a Mexican department store. Read more on artnet news.
Lu Yang’s motion capture performance Delusional World (2020) was live streamed from Chronus Art Centre in Shanghai this week. Presented by ACMI, Arts Centre Melbourne, AsiaTOPA, and The Exhibitionist, the event was scheduled to take place in Federation Square, Melbourne, but was shifted online due to the pandemic. Read more on Ocula.
At von ammon co., Washington DC, the artist presents a series of new-media works that further his ‘New Peace’ polemics against the West’s exploitation of the natural world. Read more on frieze.
Most of the artists who show at Von Ammon Co. have a love-hate relationship with contemporary American advertising and marketing. Timur Si-Qin shares their fascination, but not their cynicism. His “Take Me, I Love You” borrows Madison Avenue’s tools to make a pitch that’s earnest and even cosmic. The New York-based artist’s photography and sculpture show touts “New Peace,” billed by the gallery as “a new form of spirituality in the face of global pandemics, climate change and biodiversity collapse.” Read more on The Washington Post.
Pünktlich zur US-Wahl erleuchtete die Künstlerin Trisha Baga das Fridericianum in Kassel mit Bildern aus Trumps Amtszeit. Die Videoinstallation “Hope” zeigt dystopische Szenen, weckt aber auch Hoffnung auf das Kommende. Read more in German on Monopol Magazin.
New-wave artist Lu Yang from Shanghai invites visitors to explore heaven and hell in the video game The Great Adventure Of The Material World. This digital fantasy features cyberpunk noir, mind-bending technologies and neuroscientific religion in finding the way to nirvana. Read more on Bangok Post.
Five years ago, Lu Yang made a genderless rendering of himself the protagonist of Lu Yang Delusional Mandala, a 2015 video in which the artist’s avatar wears a baseball cap and dances through a computer-generated version of outer space. Not that the figure is carefree. The viewer is given to understand that there is a tumor in the avatar’s brain, and at times it seems to be in pain. At various points in the 16-minute piece, it is probed by diagnostic machines. The avatar dies and lives again numerous times, and ultimately ends up suspended in an enormous mandala. Read more ARTnews.
The oldest public museum in Germany, the Fridericianum, will reflect the dark mood of chaos in the year leading up to the United States’ presidential election. On November 3 in Kassel, Trisha Baga’s commissioned eight-minute film, Hope (2020), will be projected onto the front facade of the Fridericianum, coinciding with the US vote, which the work highlights in addition to other global affairs. Read more on Art Asia Pacific.
Passend zur Jahreszeit fühlt man sich in den Kontext einer Halloweenparty versetzt, die einer US-amerikanischen Highschoolserie entsprungen sein könnte: der Raum sparsam beleuchtet, die Wände im dunklem Violett, mit abgewetzten Tapetendetails, davor großformatige Portraits in leicht kitschigen, ebenfalls lilafarbenen Rahmen. Die Assoziation ist nicht weit gefehlt, denn die Medienkünstlerin Bunny Rogers (*1990 in Houston, Texas) bedient sich in ihren Arbeiten der Symbolsprache und Ästhetik von Cartoons, Videospielen und frühen Websites – einer Medienwelt also, mit der all jene, die um die Jahrtausendwende aufwachsen durften, bestens vertraut sind. Read more on art-in-berlin.de.
Die unheimliche Stimmung scheint sich auch auf den Hamburger Bahnhof zu legen, wo er sein Büro in den letzten Jahren unterhielt und bis zum Monatsende gepackt haben muss. Wer das Museum für Gegenwart besucht, gelangt nach der Buchhandlung in die Ausstellung von Bunny Rogers, ein junger Superstar aus den Vereinigten Staaten. Read more on Der Tagesspiegel.
Fragile Identitäten und popkulturelle Aneignung bestimmen ihr Werk: Bunny Rogers trägt den Kampf mit Unsicherheiten künstlerisch aus. Read more on kultunews.
In this interview, the artist delves into his evolving perspectives on life and death, virtuality and corporeality, machine and perception, as well as the implications of the Covid-19 pandemic on digital art, being, and afterlife. Read the full interview on art-agenda.
There are more romantics in contemporary art than they tell you. L’OFFICIEL looks to the work of Bunny Rogers, Torey Thornton, Andra Ursuta, and Doreen Chan, examining the vulnerability that comes with merging your relationships and your art. Read more on L’Officiel Art.
Hier schreiben Galeristen über die beste Kunst ihrer Konkurrenten. Heute: Daniel Von Wichelhaus, Chef der Galerie Société in Berlin. Read more in German in Sunday Issue, nr. 42 of die Welt.
“I became familiar with Lu Yang’s work through her exhibit in Cleveland, Ohio at MOCA Cleveland in 2017,” Cloud Nothings frontman Dylan Baldi said in a statement. “I was really drawn to her approach of tying religion into gender and various gendered bodily functions. The animation style of some of her work is also exactly on my wavelength—like a psychedelic genderless Sims game. Very excited to be able to work with Lu!”. Read more on ourculture.