Timur Si-Qin (b. 1984, Berlin, Germany) creates artwork that posits advertising and commercial marketing as a result and extension of biology. Across his practice, Si-Qin works to combat essentialism—whether in branding, language, or nature itself. He often builds seemingly organic environments whose underlying industrial structures can be easily seen, thus calling into question the things we take for granted as “natural” or “unnatural.” For the High Line, Si-Qin presents Forgiving Change, aluminum casts of a burned tree branch from Pepperwood Preserve, which was the site of one of the many forest fires that crossed the west coast of North America in 2017.
For the 2018 Shanghai Biennale, LuYang created a large scale installation including a Dance Dance Revolution arcade game installation. The installation also include set design, LED displays, videos and modified arcade machines. The Shanghai Biennale is now on at the Power Station of Art from 10 November 2018 until 10 March 2019. Watch the teaser on MetaObjects Vimeo.
A motley assortment of enchanting ceramic sculptures fills the first room of Baga’s installation “Mollusca and the Pelvic Floor.” A half-dozen glazed poodle heads accompany melting guitars, volcanic islands, and fossil-like abstractions; two busts—a self-portrait and a deft rendering of RuPaul—house virtual-assistant devices. Read more on New Yorker.
The real crime, however, was that these deadening works were hung near three inspired paintings by Jeanette Mundt, each depicting a gymnast torqueing through the air at Rio 2016 Olympics. (…)
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Organized by Living Content in partnership with Times Square Space, Living Content Live is a full day event consisting of talks, presentations, screenings, and performances, by some of the most thought-provoking contemporary artists, writers, and curators. Dealing with topics such as ecology, feminism, technology, and knowledge production, the featured speakers will present unique insights into their practices and their discourses. Read more on Living Content website
Petra Cortright’s first public art installation in Korea currently on view at Doota Plaza, Seoul until 28th of October, 2018. Watch full interview with Petra on YouTube.
Trisha Baga’s brand of weirdness draws from science fiction, spiritualism and contemporary oracles like Wikipedia and Alexa, the digital personal assistant. As art, it takes the form of a psychedelic 3-D video installation, ceramic sculptures in various sizes and paintings on lenticular photographs in the show “Mollusca & the Pelvic Floor” at Greene Naftali. Read more on The New York Times.
Sean Raspet discusses the corporation as a form of artistic practice, Nonbar prototype 2 (with sesame seeds), and scent rights. Read more on The creative independent website
The L.A.-based artist was commissioned by the Seoul shopping center for a new large-scale public art installation, which was unveiled today. Working with Korean creative agency SketchedSpace, which produced the project, Cortright created new digital paintings which “skin” the building’s facade, as well as 17 large flags bearing her designs. Read more on WWD
Bunny Rogers: INATTENTION on view now at Marciano Art Foundation.
September 1, 2018 – January 6, 2019
Trisha Baga’s third exhibition at Greene Naftali is also her most ambitious. “Mollusca & The Pelvic Floor,” like its cosmically hilarious and dizzyingly psychedelic predecessors, features a dazzling and untidy collection of found, handmade, and moving-image works: from doctored lenticular posters of human anatomy to idiosyncratic ceramic representations of everyday objects, all arranged around and within a deliriously complex 3D video installation. Read more on art agenda.
As startups looks towards increasingly abstract schemes, where is the art that answers to today’s deeply networked structures? Read more on Frieze
As playful as he is provocative, Darren Bader interrogates the meaning of art itself. Read more at nytimes.com
Trisha Baga at Greene Naftali
Mollusca & The Pelvic Floor
September 14 – October 20, 2018
For her third exhibition at Greene Naftali, Mollusca & the Pelvic Floor, Baga presents an installation comprising a wide-ranging landscape of ceramics in varying scales, as well as a new video installation. The exhibition’s eponymous central video examines language, technology, identity, and intimacy, through an expanding and contracting scope that ranges from galactic footage sourced from the sci-fi movie Contact, to video of intimate minutia such as Baga’s toes peeking out from a bathtub, an image echoed in a pair of small ceramic sculptures on the floor.
David Lewis Gallery
May 4, 2018
The September issue of Texte zur Kunst focuses on Amerika (U.S. America principally): the land, the idea, and all that seems to come with it. What is Amerika today other than a contradiction between brute political reality and a largely fictional self-image, where fiction says as much about fact as “alternative facts” say about the truth? Purchase full online access
The artist uses the web to create striking, ethereal art that sometimes seems too simple to be true. Elle USA
For the grand opening of the new Powerlong Art Centre in Hangzhou, Lu Yang presented a new and upgraded version of her Electromagnetic Brainology Live motion capture performance. The performance was presented during the opening ceremony of the centre alongside video installations of her work in a group exhibition title Nine Tomorrows curated by Yao Dajuin. Watch it on MetaObjects Vimeo
Watch the praised artist Bunny Rogers (b. 1990) talk about creating autobiographical work that draws from memory and deals with her childhood by archiving her feelings from that time: “You can’t make objective art, it’s going to be subjective.” Louisiana Channel on Vimeo
Sean Raspet describes his interest in the chemical structure of flavors and scents, and considers how molecular analysis presents new ways of thinking about the potential of art objects and their relationship to audiences. Swiss Institute on YouTube
Virtual reality is increasingly being used as a medium within the parameters of art: a development that connects to the way technology is increasingly shaping the way we live. How are artists engaging with this emergent techno-reality, and what future do they see?
Timur Si-Qin, Artist, Berlin Lu Yang, Artist, Shanghai Kening Zhu, Assistant Professor, School of Creative Media, City University of Hong Kong, Hong Kong Moderated by Victoria Chang, Director of VIVE Arts, HTC, London.
Can human beings mutate into we are historically used to call “gods” with the help of advanced technology? The Shanghai based artist discusses her interest in the physiology of the human brain, religious narratives, and the aesthetics of gaming and anime in relation to her hyper-stimulating, arcade-like installations. Read more on Mousse Magazine
Artist Petra Cortright & Carl Tashian, Engineer and Entrepreneur.
May 19th, 2018 at the New Museum in New York City. Rhizome on Vimeo
From a young age, I feel that the characters in the anime are easily pretty drawn only a few strokes. How can people be so tired and still look so ugly? I have Chūnibyō illness so it is easy to get into the role when cosplaying. Read and watch on Yuen Hsieh Vimeo
Katja Novitskova, born in 1984 in Tallinn, is currently based in Berlin, and Timur Si-Qin, born in 1984 in Berlin, is based in New York. Katja and Timur’s long friendship stems from their shared passion for nature and philosophy. Here, in the second issue of Living Content, they reminisce about their beginnings in art, their community spanning Berlin and Amsterdam, and they also discuss their interest in deep time, ecology and evolution. Read more on Living Content.
The theme of this issue – The New New Left – is not entirely “new new,” as indeed it relates to the old anti-capitalist Left in its insistence on a theoretical analysis of capitalism and the price paid by many in such a system. Purchase full online access
Bunny Rogers is an artist that uses the Internet to create her artworks. For the exhibition “In Tune with the World”, she presents a series of refined self-portraits, where she depicts herself as Joan of Arc, from the American TV show “Clone High”. Fondation Louis Vuitton on YouTube
Trisha Baga presenting her work “MS Orlando” (2015) at the Nam June Paik Award 2016 at the Museum Folkwang, Essen. Kunststiftung NRW on YouTube
LA artist Petra Cortight and curator Aaron Lister talk about Cortright’s exhibition at City Gallery Wellington, RUNNING NEO-GEO GAMES UNDER MAME. City Gallery Wellington on YouTube
A candid meditation on the magic of film from the maestro of surreal cinema, David Lynch. Read more at Nowness
In this vlog, artist and educator Christine Sun Kim visits the studio of artist Trisha Baga. They discuss Baga’s process and her Whitney solo exhibition, Plymouth Rock 2. Whitney Museum of American Art on YouTube
Artist and Nonfood Co-Founder Sean Raspet & Francis Tseng, Designer and Developer.
May 19th, 2018 at the New Museum in New York City. Rhizome on Vimeo
Kaspar Müller fotografierte eine rote Glaskugel vor einem hochalpinen Panorama. Die Aufnahmen für dieses Bild entstanden in einem Walliser Bergdorf unterhalb der Baumgrenze mit Blick auf den Grande Dent de Veisivi (3418 m ü. M.), den Dent de Perroc (3676 m ü. M.) und den westlich vom Matterhorn gelegenen und von der Kugel verdeckten Dent d’Hérens (4171 m ü. M). Kaspar Müller untersucht mit seinen Arbeiten die Wahrnehmung einer Realität, die selbst schon Bild oder Zitat ist: Populärkultur und Warenwelt halten dafür viele Beispiele bereit, die er in seinen Werken aufgreift und künstlerisch befragt. Download at ricola.ch
Outside of Our Minds – Timur Si-Qin’s mostly depicts peaceful scenarios which convey the notion of a new image of humanity and a new humanism within it. In conversation with SCHIRN curator Matthias Ulrich the Berlin artist gives in-depth insights in his work and filmic interest. Schirn Kunsthalle Frankfurt on YouTube
For Timur Si-Qin (born 1984), working with new media is second nature. “VR is a natural extension of my skill set,” he says. “I’ve used [it] for several years to plan my exhibitions and have worked with 3D software since I was a teenager.” Read more on Financial Times