New Media

Zhang Peili: From Painting to Video at the Australian Centre on China in the World

Zhang Peili. Q + A + Q, 2012; 2-channel video projection installation; 20:37; installation view. image courtesy the artist and Australian Centre on China in the World.

Zhang Peili: From Painting to Video is curated around a work gifted to the Australian Centre on China in the World at Australian National University. In 2014, Zhang’s friend and fellow artist Lois Conner donated one of the artist’s final paintings, Flying Machine (1994). The exhibition of this newly restored work provided an opportunity to explore Zhang’s transition from painting to video, and to reflect on[…..]

From the Archives – Time After Time: The Clock at SFMOMA

Christian Marclay, video still from The Clock, 2010; single-channel video with stereo sound, 24 hours; courtesy the artist and Paula Cooper Gallery, New York. All photos from Christian Marclay: The Clock; San Francisco Museum of Modern Art

In June 2013, the San Francisco Museum of Modern Art closed its doors to begin a massive expansion project. This weekend is the first public reopening of the museum, which now holds the status of the largest museum (by square footage) dedicated to modern art. Today we bring you a flashback to those last few hours at SFMOMA three years ago, when Christian Marclay’s The Clock[…..]

Equilibrium: A Paul Kos Survey at di Rosa

Shotgun Reviews are an open forum where we invite the international art community to contribute timely, short-format responses to an exhibition or event. If you are interested in submitting a Shotgun Review, please click this link for more information. In this Shotgun Review, Ángel Rafael Vázquez-Concepción reviews Equilibrium: A Paul Kos Survey at di Rosa in Napa. Currently at di Rosa, Equilibrium: A Paul Kos Survey features works by one[…..]

Virtual Absence and Presence in the Museum of Stolen Art

Ziv Schneider. Art Detective: The Museum of Stolen Art, 2015; Android VR app. Courtesy of the Artist.

Today from our partners at Art Practical, we bring you the most recent edition of their popular “Locating Technology” column, a consideration of the Museum of Stolen Art (MOSA). Author Genevieve Quick notes that “MOSA capitalizes on the unknown: the whereabouts of the artworks, sometimes the conditions of their theft or looting. Rather than explaining the significance of given artworks as conventional museums do, MOSA poses questions about their[…..]

Kota Ezawa: Gardner Museum Revisited at Christopher Grimes Gallery

Kota Ezawa. Gardner Museum Revisited, installation view, 2016. Courtesy of the artist and Christopher Grimes Gallery.

In 2013, Kota Ezawa once gave a presentation at the California College of the Arts about a man in Japan. As he explained it, Ezawa saw a man talking on CNN, with the name of “Kota Ezawa” printed in the bumper graphic at the bottom of the screen. This onscreen Ezawa was a scientist, and as Ezawa watched the interview, he became intrigued. The name[…..]

Gilberto Esparza: Cultivos at Laboratorio Arte Alameda

Gilberto Esparza. Plantas autofotosintéticas, 2013-2014; polycarbonate, carbon fiber, stainless steel, silicone, acrylic, electronic circuits, waste water and aquatic ecosystem. Courtesy of Laboratorio Arte Alameda.

Sheltered by darkness, a mysterious octopus-like artifact lies in the nave of the Laboratorio Arte Alameda, a contemporary art museum housed in what was once an ancient convent. Capable of creating light and life by itself, the machine artifact operates by complex mechanisms. Twelve cylinders containing microbial fuel cells are connected to a main Plexiglas tank that houses plants in its interior. Every cylinder carries wastewater from various[…..]

Chen Qiulin: One Hundred Names at 4A Centre for Contemporary Asian Art, Sydney

Chen Qiulin carves tofu

What’s in a name? In ancient China, surnames represented clans and ancestral lineage, a highly significant aspect of identity and filial obligation. In contemporary parlance, the Chinese phrase “Lao Bai Xing” (literally, “the old hundred names”) translates as “the ordinary people” or “the common folk.” It often refers to the voiceless, those who are most powerless in the face of social forces. For many years, Chen Qiulin[…..]