Conceptual

Raiders and Empires

Stephanie Syjuco. Empire/Other: Morphset E, 2013 (video still); 3D animated video. Courtesy of the Artist and FLACC Workplace for Visual Artists, Belgium.

In these projects Syjuco harnesses technologies of distribution and reproduction—the web, photography, and 3D scanning and printing—to create objects that reveal the tangled history of colonization and cultural hybridization.

Del Kathryn Barton: The Highway Is a Disco at ARNDT Singapore

Del Kathryn Barton. The highway is a disco, 2015; Acrylic on French linen; 240 × 180 cm. Courtesy of the Artist and Arndt Singapore.

Framed against a starlit sky, two female figures with feathered hair and large, limpid eyes sit astride blue and purple kangaroos. Their lush, naked bodies are stark white against a vibrant canvas of marks, lines, and dots. They stare out of pictorial space into an unknown distance, with their detached gazes separated from the viewer’s own perusal of them. Disengaged from us, their distance forms[…..]

Franz Erhard Walther and Pae White at the Henry Art Gallery

Franz Erhard Walther. Sehkanal (with body weight and exertion exposing one's opposite number to one's gaze - sight channel) Single Element n°46 of 1.Werksatz, 1968. Green fabric: 30 x 740 x 20 cm. Courtesy of Galerie Jocelyn Wolff. Photo credit: Timm Rautert. Copyright Franz Erhard Walther Foundation, Timm Rautert.

The Henry Art Gallery in Seattle opens two exhibitions, Franz Erhard Walther: The Body Draws and Pae White: Command-Shift-4. The featured artists—albeit separated by 24 years and 5,600 miles—create a compelling juxtaposition, revealing shared interests in graphic art, architecture, and fiber as mediums that shift between sculpture and performance. Both artists produce works that are liminal and in flux—forever making and remaking themselves through direct interaction.[…..]

Tomás Saraceno: Arachnid Orchestra. Jam Sessions at NTU Centre for Contemporary Art Singapore

Tomás Saraceno, Omega Centauri 1 Nephila Kenianensis 4 Cyrtophora citricola, 2014; Spidersilk, carbon fibre, light, Tripod. Courtesy of the artist and Esther Schipper Gallery, Berlin.

The gallery hums with screechy sounds resembling acoustic feedback, punctuated by random bursts of bass and cartoonish sound effects. The soundscape is queasily amorphous and disorienting, built on dissonance and the chaotic rhythms resonating from a handful of arachnids that have woven fine, thick webs around delicate wire frames. Featuring a plethora of spiderweb sound installations, Tomás Saraceno’s latest show Arachnid Orchestra. Jam Sessions is[…..]

Impossible Objects at the Museum of Contemporary Art in Krakow

Impossible Objects, 2014; installation view, Impossible Objects, 2015. Courtesy of Instytut Architektury, Krakow. Photo: Jakub Woynarowski

Cultural reproduction is at the center of Impossible Objects, an exhibition that returns to Poland after much lauded recognition at the Venice Biennale. On central display is a 1:1 replica of the baldachin designed by Adolf Szyszko-Bohusz at the beginning of the 20th century to honor the revolutionary Polish leader Marshal Józef Piłsudski. The reproduction is accompanied by artist and artistic director Jakub Woynarowski’s large-scale[…..]

UH-OH: Frances Stark 1991-2015 at the Hammer Museum

Frances Stark. Bobby Jesus’s Alma Mater b/w Reading the Book of David	and/or Paying Attention Is Free, 2013; multichannel projection with sound, inkjet 	mural, and takeaway offset posters; 7:20 min. Installation view, Carnegie International, 2013. Courtesy of Marc Foxx Gallery, Los Angeles. Photo: Brian Conley.

In a mid-career survey as large as UH-OH: Frances Stark 1991–2015, on view at the Hammer Museum, I’m usually tempted to rush over a couple of galleries and maybe even skip a video here or there. From the get-go, Stark’s exhibition, featuring 125 drawings, collages, paintings, and video installations, had me enthralled with My Best Thing (2011), a 100-minute-long episodic animation based on the artist’s[…..]

Book of Scores at Disjecta

(From left to right) Ellen Lesperance, Alison O'Daniel and Helga Fassonaki. Book of Scores, 2015; installation view, Disjecta, Portland, OR. Courtesy of Disjecta. Photo: Worksighted

Cinematic moments are often remembered because of the dramatic musical accompaniment. Alfred Hitchcock’s Psycho is forever memorable in part for its menacing theme composed by Bernard Herrmann. Likewise, Star Wars is instantly recognized due to John Williams’ heroic use of trumpets. Book of Scores, on view at Disjecta, is an exhibition that is equally as pointed in its intention. Occupying many forms of sculpture, sound,[…..]