Art Basel and BMW announced Lu Yang as the next BMW Art Journey winner. The artist was selected by an international jury unanimously from a shortlist of three artists whose works were exhibited in the “Discoveries” sector at this year’s Art Basel show in Hong Kong. Lu Yang is represented by the gallery Société in Berlin. Read more on blouinartinfo.
“Kaspar Müller: Allegiance & Oblivion” is on view at Vleeshal in Middelburg, the Netherlands, through Sunday, June 30. The survey, curated by Roos Gortzak, brings together work made over the past decade and is the Swiss artist’s first institutional show in the Netherlands. See more on ARTNEWS.
Through the BMW Art Journey Award, Lu will travel through Indonesia, India, and Japan to study traditional and contemporary dance, with the ultimate goal of reinterpreting the movement she witnesses through robotics. She said in a statement, “This is not just an art journey. It will be a wonderful start for me to open a new chapter of my creation.” Read more on ARTNEWS.
Contemporary works still dominate, though, and Jetzer highlights the youngest artist in his show, Bunny Rogers (born 1990), who brings a new series of 15 computer-generated self-portraits that explore the ambivalent reactions to the 1999 Columbine High School massacre incorporating the artist’s discovery of a teenage subculture that obsesses about the shooters (Société gallery). Read more on Financial Times.
At first, it seemed like purely a provocative stunt: At Frieze New York in 2016, the gallery Société had a solo booth by the artist Sean Raspet consisting of fridges filled with Soylent, which the dealers were giving out for free. But as is often the case with Société, there was more than met the eye. Raspet was hired by Soylent to create a new flavor that would be “abstract” in the way that his edible and smellable work usually is—making the meal replacement drink both the medium and message for the artist. Gallery founder Daniel Wichelhaus has built one of Berlin’s most exciting art spaces by pushing his artists to expand their platforms. Read more on Artsy.
Société’s Unlimited presentation is dedicated to an installation by Cultured 2017 Young Artist Bunny Rogers, “Self-portrait as Clone of Jeanne d’Arc.” For years, the artist has made work about the 1999 Columbine shooting. Here, she continues that series with 15 self-portraits that combine her own presence with that of Joan of Arc. Read more on Cultured.
Art Basel and BMW have announced that Shanghai-based artist Lu Yang has been named the next BMW Art Journey winner. Born in 1984, Lu creates work that grapples with issues ranging from gender identity and sexuality to neuroscience, death, and the human body. Read more on ARTFORUM.
Berlin-based Société Gallery has chosen to focus its presentation on works that explore the impact of digital life on society. Bunny Rogers’s Neopets, sculptures of digital animal companions, asks us to consider the divide between real life and cyber life. Read more on AD.
Art Basel and BMW are delighted to present Lu Yang as the next BMW Art Journey winner. An international jury selected Lu Yang unanimously from a shortlist of three artists whose works were exhibited in the Discoveries sector at this year’s Art Basel show in Hong Kong. Lu Yang is represented by the gallery Société in Berlin. Please click here to read the full press release.
Mit der US-Künstlerin Trisha Baga wird ein gefragter Millennial präsentiert. Die New Yorkerin steuert zur Schau Keramiken in Form eines Toasters oder eines Mikroskops, Ölfarben auf Wackelbildern und ein 3D-Video bei. Read more in German on der Standard.
There was “Electromagnetic Brainology” by Lu Yang, a dizzying installation of godlike animated figures and “Expected Departure,” by Leung Mee Ping, featuring X-rays of dozens of airline sick bags the artist had collected over years of travel. (…) Read more on The New York Times.
Pink_Para_1stchoice is a little-shown companion work to Cortright’s DRK PARA. The video is constructed using multiple chains of standard-issue webcam filters, all running as the artist watches herself in the computer screen while singing along to a song we cannot hear. Come view the work nightly in May from 11:57pm-midnight at Times Square.
Lu Yang‘s disorientating and fantastical visions at Société‘s booth also drew crowds who seemed more intent on new discoveries than the standard blue chip material that this year’s fair calendar has supplied the already crowded art world circuit since the start of the year. Read more on Artvisor.
Société presents a series of works that question the semiotics and cultural symbolism of contemporary objects in the exhibition Why Always Me? by Swiss artist Kaspar Müller. Müller investigates the tropes and myths that define modern culture with a display of motifs that range from kitsch to highly stylised. Read more on Sleek.
Bunny Rogers’s practice depicts the impossibility of pure innocence. It concerns topics ranging from school shootings to the agency of nonhuman animals, the sexualization of children, and the romanticization of dying young. This essay traces the persistence of these themes through her expansive body of work, focusing on her deployment of cute objects as both material and metaphor. Read the full essay by Emily Watlington on Mousse Magazine.
As with the sculptural elements of Roger’ exhibition, the smell of the Régime collaboration evokes moist unearthing; used to mark a space, it is the cool, muted dredges of a satin slipper run amuck on a zombie’s muddied twinkle toes. Read full interview on Fragrantica’s website.
Im Sektor für Entdeckungen jüngerer Positionen präsentiert Wichelhaus die 1984 in Schanghai geborene Multimediakünstlerin Lu Yang mit der halluzinogen-parodistischen Inszenierung „Cyber Altar“ aus einer Fünf-Kanal-Videoarbeit und vier Leuchtkästen. Read in German on Der Tagesspiegel.
Dazzling electric blazes, Manga dream girls, rainbow iridescent walls and forms closing in from every direction—step into Shanghai artist Lu Yang’s illusion cube and enter a dimension of her own making. Read more on Cultured.
If you’re yearning for sensory overload, head directly to Société’s solo presentation of the young Chinese artist Lu Yang. For the fair, Lu created four films (all 2019) featuring four different characters—half-robots, half-gods—which play on elevated screens, while lightboxes in the same style hang on the walls. Read more on Artsy.
“I feel like I have a soul now,” Bunny Rogers said on the phone from Frankfurt, days after the opening of her exhibition Pectus Excavatum at the Museum für Moderne Kunst. Following her 2017 Whitney solo exhibition Brig Und Ladder, which served to complete a trilogy of installations about the Columbine High School massacre, the American-born artist retreated into a year-long hermitage. Read more on Interview.
Questioning how much we think we know, especially within a broader consideration of animal intelligence, is one of the main focuses of the show at MMK Frankfurt. I define intelligence as sensitivity, and in those terms, animals such as squid, octopi, and whales are indicative of the extreme sensory capabilities that we’ve barely scraped the surface of. Read and watch on ARTFORUM.
Über die Lebensweise von Riesenkalmaren und Teenagern ist wenig bekannt, das legt zumindest eine Ausstellung in Frankfurt nahe. Wie die Künstlerin Bunny Rogers tief in die Welt der Adoleszenz blicken lässt. Read in German on Monopol Magazine.
Cortright’s choice of subject lands on the perfect place along the art history spectrum for this conversation. The dozen or so works are variations on the floral still life genre, and “Lucky Duck Lights Out,” the exhibition title, references two varieties of dahlia, the former a sunny yellow and the latter, a velvety scarlet(…) Read more on ARTILLERYMAG.
Hell On Earth Podcast Zine Launch
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Lu Yang videos burn themselves onto our retinas. Glaring and heady, they construct narratives of self-mutilation, which are used by the artist as a process of enlightenment. Both Yang’s best-known video installations, Delusional Mandala (2015) and Delusional Crime and Punishment (2016), tell the story of a bizarrely manufactured human figure (a 3D genderless simulation of Yang herself) stuck in limbo between a life of synthetic potential and its inevitable condemnation. Read more on Art Basel.
The Whitney Biennial 2019 is curated by Rujeko Hockley and Jane Panetta, the show runs from May 17 to September 22. Read more on Whitney Museum website.
Lu might be driven by a similar desire, joining the dots between Buddhism, neuroscience and biology in an oeuvre that resembles a manga franchise populated by a psychotic cast of gods, demons and cyborgs – as well as the artist herself. While Capra’s new-age tome sought to attune ‘modern’ scientific minds in the West to the ‘ancient wisdom’ of Eastern spirituality, Lu’s sciencefiction approach to religious iconography is a joyously accelerationist affair, fusing inquiries into consciousness and control in a dizzying cosmological cocktail. Read the full feature in Frieze Magazine.
Im Zweifelsfall ist das Material wichtiger als die Identität des Künstlers: Eine Schau in Frankfurt zeigt Arbeiten der amerikanischen Bildhauerin Bunny Rogers. Read in German on Süddeutsche Zeitung.
When artists experiment with virtual reality, they often lose themselves in the medium’s overwhelming possibilities. So A New Protocol VR v.1.2, 2018, the sole VR piece in Timur Si-Qin’s “East, South, West, North,” is a pleasant surprise. (…) Purchase full online access.
The first name that jumps to my mind is Lu Yang, surname Lu, a new media artist born and based in Shanghai, who we recently hosted here in Chicago for a talk. Her fame has shot up over recent years, and the work is fascinating.(…) Read more on artnet news.