Uncategorized

#Hashtags: The State of Art: Bangladesh, Portugal, Greece, and Palestine at the Venice Biennale

Joanna Vasconcelos. Valkyrie Azulejo, 2013. Handmade woolen crochet, fabrics, ornaments, polyester, LEDs and electric system. Dimensions variable. Portuguese Pavilion, 55th Venice Biennale. Courtesy of the artist and the Transtejo – Transportes Tejo, S.A., Lisbon. Photo by the author.

#politics #statehood #borders #biennials #nationalism The Venice Biennale is fundamentally shaped by its founders’ belief in statehood. Each nation-state secures its site, much like an embassy, and asserts its self-image through the choice of curators and artists. Four pavilions at the 2013 Biennale demonstrate how the notion of the nation-state is constructed and deconstructed in the face of contemporary global pressures. For Bangladesh, the pavilion[.....]

Séripop: Looming at YYZ

IMG_9047(M)

I first came across Montréal artist duo Séripop (Chloe Lum and Yannick Desranleau) a number of years ago when I was more embedded in the indie music scene here in Canada. In this sphere, the pair are known for their layered, DIY gig posters and refreshingly offbeat graphic design work. Despite their disregard for the formal rules of graphic design, Lum and Desranleau possess an intuitive[.....]

From the Archives: William Kentridge’s Black Box / Chambre Noire

Today From the DS Archives we bring you a post on one of William Kentridge‘s highly regarded video pieces “Black Box/Chambre Noire.” His work is currently on view at Marian Goodman in New York and will be up through October 26. The following article written by Georgia Haagsma was originally published on September 12, 2012. At the end of William Kentridge’s miniature theatre piece Black Box/Chambre[.....]

The Fun of the Fair: Sydney Contemporary

Kim Joon, Bird Land - Chrysler, 2008, digital print, 47 x 83 inches, Sundaram Tagore Gallery, Hong Kong, New York, Singapore

Depending on who you ask, anywhere between eight thousand and thirteen thousand people attended the vernissage of the world’s newest art fair, Sydney Contemporary. By the end of three and a half days, the fair had attracted almost twenty-nine thousand visitors eager to see the offerings from eighty-three Australian and international galleries, presenting the work of more than three hundred artists. The physical scale was[.....]

Lick ’Em by Smiling: Jeremy Deller and Shary Boyle at the Venice Biennale

If the Venice Biennale is the United Nations of contemporary art, then the Giardini is its Security Council. The park’s stately pavilions belong to the (mostly European) nations that were best situated to claim them in the early- to mid-twentieth century. National pavilions are organized by state entities and can be counted on to present a government-sanctioned view of art, which tends toward the conceptually[.....]

Ruinophilia: Luke Painter’s Rebound at Le Gallery

Painter_pomo_reno

There’s something dark and morose underlying Luke Painter’s surreal, methodical drawings installed at Le Gallery on Toronto’s Dundas Street West. While the compositions and their titles are playful in their kitschy pop-cultural references, the flattened perspective field, broken architectural fragments, and dampened chromatic tones create a sense of uneasiness within the viewer. Painter is traditionally trained as a printmaker, though over the last number of[.....]

Avenging Ancestors, Failing Spectacularly: Wisconessee at Kasia Kay Projects

Daniel Bruttig. Nick with Monster Mask, 2013. Colored pencil on paper. Courtesy of Kasia Kay Projects.

If you’re at all interested in seeing Wisconessee, Duncan R. Anderson and Daniel Bruttig’s semi-collaborative two man show at Kasia Kay Projects, I can tell you right now there’s a good chance you’ve already seen it. Typically, I’m not one to write a negative review for the sake of teeing off on artists who are just trying to get some work out there. But this[.....]