Diese Woche eröffnet im Kunsthaus Bregenz die bislang größte Ausstellung der US-Künstlerin Bunny Rogers. Ein Treffen in ihrem Lieblingsgeschäft in New York, wo bei der Suche nach dem perfekten Stoffband der Gesprächsfaden nicht abreißt. Read in German on monopol-magazin.de.
The artist, very much alive and turning thirty this month, has channeled her affective fixation on mourning and melancholia into an exhibition that will occupy the Kunsthaus Bregenz’s four mausoleum-like concrete floors—an appropriate setting for installations inspired by American funerals. Read more on Artforum.
Next month, the Henie Onstad Art Center in Norway will hold its first triennial for photography and new media. The exhibition will feature new work by thirty-one international artists and will fill the entire ground floor of the museum. Read more on Artforum.
Limp bodies lined the hallways of Essex Street Academy, a public high school on the Lower East Side of Manhattan, during Bunny Rogers’s Sanctuary. It was the first live performance by the artist, who is known for videos and installations that often employ cute objects with dark twists, complicating notions of innocence. Read full review on Art in America.
Intersecting lines on the painting’s surface form crosshairs that emphasize the congruence of the center of the canvas with the gymnast’s center of gravity, the point around which she spins. Mundt’s paintings, despite their loose brushwork and hazy details, are ultimately precise: they stick the landing. Read more in Art in America.
At 39 years old, Lu Yang has created a compelling body of work around sexuality, mortality, religion and neuroscience. And she isn’t known for pulling her punches or skirting around taboos. Buy the issue here.
Last night at the Essex Street Academy the millennial artist, best known for video animations and sculptures that orbit around the 1999 Columbine massacre, unveiled Sanctuary. Read more on Garage.
Read the full article in Monopol Issue 11. Buy here.
Among the biennial’s less conventional venues is a high school overtaken by artist Bunny Rogers, who has repeatedly turned to these fraught spaces for her installations and video pieces (she made a trilogy based on the 1999 Columbine High School massacre). Read more on artnet news.
In her installations, videos, poetry, and performances, Bunny Rogers not only evokes teen angst and depression, but also the emo icons through which she channeled those emotions at a younger age. These include the melancholic singer-songwriter Elliott Smith, the goth-punk version of Joan of Arc from the animated TV show “Clone High” (2002–03), and the jaded character Gaz from another cartoon series, “Invader Zim” (2001–06). Read more on Art in America.
What to Look Out For: She may be best known for the work that she debuted at the 2019 Whitney Biennial, which showed Olympic gymnasts in various freeze-frames. At Frieze, her gallery is showing earlier works, yellow green landscapes from 2014, that are no less stunning. Read more on artnet news.
According to Timur Si-Quin’s Transformers posters, there is a film and it is COMING SOON. Atop the generic graphics, which could advertise any number of iterations of the franchise, the artist has pressed bruised petals or littered the surface with delicate green leaves. The uncanny juxtaposition, adds a sense of play onto the deadening economic determinism of the modern Marvel corporation. Read more on TANK MAGAZINE.
本次展览的参展艺术家为来自中国的艺术家曹斐（1978）、陆扬（1984）、方迪（1987）和张培力（1957）。“微纪元——中国媒体艺术”特别展是对2001年汉堡火车站柏林当代美术馆举办的中国当代艺术家群展“生活在此时”的呼应和延续，都在探讨不同时期中国经济、政治、思想、科技上发生的巨大变化。Read in Chinese on Action Media.
“Selbstbildnis” examines the evolution of self-portraiture from the 1970s to today amid contradicting movements. While most of the artworks in the exhibition are pulled from the gallery’s roster of contemporary artists—Trisha Baga, Petra Cortright, and Ned Vena, among others—the show’s selection of historical pieces weaves a curatorial thread that deploys a meditative rather than disputative tone to complicate static notions of identity. Read full review on ARTFORUM.
随着艺术活动的密集进行和发展，身处艺术行业的人身份变得多元，“艺术家-策展人”（Artist- Curator）的身份，能够让艺术创作与策展规划之间的关系，如何获得更多开创性？Read more in Chinese on The Art Newspaper.
Lu Yang wiederum liefert mit ihren immerfort rein- und rauszoomenden Perspektiven die passenden Bilder für die Generation Post-Internet: Digitaler Eskapismus hat zumindest lange nicht mehr so aufregend ausgesehen wie in der “Luyanghell”. Read in German on der Spiegel.
此次题为“微纪元”（Micro Era）的展览上展出了艺术家曹斐、方迪、陆扬和张培力的影像作品——“微纪元”抽取自刘慈欣的科幻小说，指涉灾难之后，留存下来的众生失去历史感之相。Read in Chinese on ARTFORUM.
In Lu Yangs großformatigen, schnell und bunt flimmernden Arbeiten kann man sich verirren wie in den Labyrinthen einer Comic Convention. Ihre Werke entstehen ausschließlich am Computer, als virtuelle Welten und in der Ästhetik hochaktueller Videospiele. “Mangas haben meine ganze Kindheit begleitet”, kommentiert die in Schanghai lebende Künstlerin. Read in German on Deutsche Welle.
Noch mehr zeigt nur Lu Yang, Jahrgang 1984 und damit die junge Generation chinesischer Medienkunst. Ihre durch mehrere Räume mäandernde Geisterbahn aus Videos, Plakaten und monsterhaften Skulpturen koppelt das Weltwissen aus dem Internet egalitär zusammen. Egal, ob es sich um Mythen, historische Rituale oder Cyber-Fantasien handelt, alles ist verfügbar. Read in German on Der Tagesspiegel.
Founders of nonfood, Lucy Chinen & Sean Raspet discuss contemporary food supply chains and sustainable food futures, including the R&D of their own algae-based nonbar. Along the way, we address: monocultures, fear, skeuomorphic flavor, cellular agriculture, and the real cost of “all-natural.” Listen here.
The Nonbar (2017) is the first product from Nonfood, a company started by artist-entrepreneurs Lucy Chinen and Sean Raspet. Made from pressed lemna, chlorella and spirulina algae, with some roasted broad beans thrown in for added protein, the Nonbar is an attempt to make a food source that is stubbornly nutritious and optimistically sustainable. Read more on Frieze.
Kulturforum in Berlin to host “Micro Era. Media Art from China” from September 5, 2019. It is being organized by the Nationalgalerie — Staatliche Museen zu Berlin and the Gesellschaft fur Deutsch-Chinesischen kulturellen Austausch e.V. (GeKA e.V. 德中文化交流基金会), on the occasion of the 25th anniversary of the city partnership Berlin-Beijing. The exhibition is a dialogue between artists Chinese artists Cao Fei, Lu Yang, Fang Di, and Zhang Peili. Read more on BLOUINARTINFO.
Video and installation artist Bunny Rogers will present her first live theatrical work at a local public school. Revisiting territory she explored in a trilogy of videos about the Columbine High School massacre, the new project will take the form of a high school talent show, touching on the way adolescent violence has evolved from school-yard bullying to the emotional torment waged online today. Read more on artnet news.
I’m definitely interested in domestic images and the domestic space. I am a longtime subscriber to the homemaking magazine Martha Stewart Living, which I always look at to get ideas for paintings. Sometimes I think of those domestic images as modern-day still-lifes. (…) Read full interview on Mousse Magazine.
Bunny Rogers, Self-portrait as Clone of Jeanne d’Arc (2019), Société: “It’s great to have a new work that was created for Unlimited. This piece has the classic format of the portrait gallery and you also recognise iconographic references to popular culture, like the Silence of the Lambs poster. Read more on The Art Newspaper.
Sean Raspet is a 38-year-old conceptual artist in Detroit who used to work with hair gel. These days, his material of choice is even more unconventional. He has literally stripped his practice down to the molecular level, as he considers the role of art in an age dominated by global capitalism, environmental concerns and quantum leaps in technology.
His first Hong Kong solo exhibition is called “New Molecules and Stem Cell Retinoid Screen”, a literal description of the two works he has brought to Empty Gallery’s minimally lit space. Read more on South China Morning Post.
Raspet is an artist; flavor and fragrance chemist; and cofounder of the algae-based food company nonfood. He did not primarily train as a scientist, but developed a visceral interest in chemicals, and in the chemistry and materiality underlying the built environment and the economy at large, as a result of looking into the material conditions of our present times. Read more on Mousse Magazine.