Performance

Soulèvements (Uprisings) at the Jeu de Paume

Dennis Adams. Patriot, 2002; C-print mounted on aluminum; 40.5 x 54 in. Courtesy of Centre National des Arts Plastiques, Paris. Photo: Galerie Gabrielle Maubrie.

What if the imagination made mountains rise up? Georges Didi-Huberman poses this question in Soulèvements (Uprisings), a new exhibition at the Jeu de Paume National Gallery in Paris. Throughout the museum’s galleries, contemporary artworks, books, historical documents, and photographs present a potent survey on the theme of social rebellions in the West, ranging from Victor Hugo’s call for the abolition of the death penalty (in[…..]

La Biennale de Montréal: Le Grand Balcon at the Musée d’Art Contemporain de Montréal

Anne Imhof. Angst III, 2016; performance. Courtesy of La Biennale de Montréal. Photo: Jonas Leihener

There is admittedly a little bit of confusion when one arrives at La Biennale de Montréal’s main venue, the Musée d’Art Contemporain (MAC), for a great part of the biennale does not in fact take place at the MAC. With eighteen satellite venues beyond walking distance and inaccurate information from its front-line stewards, trekking through extreme winter conditions in the land of the tragic 19th-century[…..]

The Art of Citizenship: Mierle Laderman Ukeles at the Queens Museum

Mierle Laderman Ukeles. Sanitation Celebrations: Grand Finale of the First NYC Art Parade, Part I: The Social Mirror, 1983; garbage collection truck, tempered glass mirror, and acrylic mirror; 28 x 8 x 10 1⁄2 ft. Created in collaboration with DSNY. Courtesy of the Artist.
Mierle Laderman Ukeles. Sanitation Celebrations: Grand Finale of the First NYC Art Parade, Part I: The Social Mirror, 1983; garbage collection truck, tempered glass mirror, and acrylic mirror; 28 x 8 x 10 1⁄2 ft. Created in collaboration with DSNY. Courtesy of the Artist.

Today from our sister publication Art Practical we bring you Aruna D’Souza’s reflections on Mierle Laderman Ukeles at the Queens Museum. This article was published as part of Art Practical’s issue 8.1: Art + Citizenship. D’Souza states  “[Ukeles] work, and the role of the artist that her work inscribed, makes a powerful argument for the artistic possibilities of citizenship—and the responsibilities, obligations, and collective pleasures[…..]

From the Archives – La Polis Imagi-nada at El Quinto Piso

Liz Misterio. El regreso de Ana Suromal, 2015 (action-art still); action-art and video projection. Courtesy of the artist and El Quinto Piso, Mexico D.F. Photo: Liz Misterio.

While nation-states elect or appoint internationally recognized power brokers, real politics emerge on the ground in the lived experiences of our communities, in the polis. In the face of shifting national and international politics, local communities must commit to uphold human rights. In that spirit, San Francisco’s Board of Supervisors recently dismissed threats of funding cuts by the President-elect and affirmed the city’s commitment to[…..]

Pedro Reyes: Doomocracy at the Brooklyn Army Terminal

Pedro Reyes. Lady Liberty, 2016; installation view, Pedro Reyes: Doomocracy, 2016. Courtesy of Creative Time, New York. Photo: Will Star Shooting Stars Pro

The word “doom” is frequently preceded by “impending” or “certain.” It implies finality—condemnation to a state of catastrophic ruin that overpowers any attempt to forge order and peace. In the case of Doomocracy, an immersive installation and performance in the form of a house of political horrors conceived by Mexico City–based artist Pedro Reyes, doom is employed as part parable and part prophesy—a way to[…..]

Fan Mail: Sarah Beth Woods

Sarah Beth Woods. A Big Diamond, 2016; hair weave, foam, door-knocker earrings; 67 x 7 x 30 in. Courtesy of the Artist.

True to its name, the BRAID/WORK series by Sarah Beth Woods operates within layers of social and material meaning, revealing a deconstructionist character even as it replicates the physical act of weaving. In the creation of these pieces, Woods pulls apart the concepts that make them legible. BRAID/WORK includes a 2016 performance and collaboration between Woods and the Malian-American professional hair braider, teacher, and entrepreneur[…..]

Boom: The Art of Resistance at Random Parts

Amara T. Smith, Ellen Sebastian Chang & collaborators. House/Full of Black Women
2016-ongoing
Multiple sites, Oakland, CA
“Now You See Me” video documentation by Ginika Oruche
Original lantern used in performance with replica veil material

Impeccably curated by artist–organizer Leslie Dreyer at Random Parts gallery, Boom: The Art of Resistance is an exhibition that does not advertise its impact, and it could be mistaken for “scrappy” if one ignored the precision of the show and the assumptions jammed into that word. Installed in the small storefront/apartment space in Oakland, a few of the show’s works are in the well-used kitchen,[…..]