December 11, 2017

December 09, 2017

Nairy Baghramian | Déformation Professionnelle at Walker Art Center

Over the past two decades, Nairy Baghramian (Germany, b. Iran, 1971) has created sculptures, photographic works, and drawings that explore relationships between architecture, everyday objects, and the human body. Her works mark boundaries, transitions, and gaps in the museum, prompting us to consider form and meaning in the context of interior and exterior spaces. Drawing on a multiplicity of references—including dance, theater, design, and fashion—and producing unlikely juxtapositions in material and scale, Baghramian questions and challenges the definition of sculpture.
Déformation Professionnelle offers a new approach to the artist survey, an exhibition format that follows the development of an artist’s career over a period of time. Here, Baghramian has replaced the original invitation to do a retrospective and presents entirely new sculptures that reflect upon and alter her previous bodies of work from 1999 to 2016. Some pieces incorporate rejected ideas or materials, while others explore variations in form. Baghramian is, as she says, “surveying the survey,” pushing the sculptor’s task into new territory with her ever-evolving practice.
The exhibition takes its name from a French phrase often translated as “professional distortion” or “job conditioning,” referring to ways that a person’s worldview can be altered by their chosen vocation. The artist uses the exhibition as an opportunity to take apart her own profession and lay bare the sculptor’s method. In fact, the word “deformation” can also be applied to form, pointing to basic actions such as shaping, modeling, or casting. Through her playful yet critical take on the artist survey, Baghramian unpacks and interrogates the conceptual, physical, and social aspects of sculpture-making today.
At the Walker, Nairy Baghramian: Déformation Professionnelle was organized by curators Vincenzo de Bellis with Victoria Sung; at S.M.A.K., the exhibition was organized by curator Martin Germann.

Open at the Walker until Feb 4, 2018

December 07, 2017

December 06, 2017

Turner Prize 2017: Lubaina Himid

Lubaina Himid
b. 1954, Zanzibar, Tanzania
Lives and works in Preston

Himid makes paintings, prints, drawings and installations which celebrate Black creativity and the people of the African diaspora while challenging institutional invisibility. She references the slave industry and its legacies, and addresses the hidden and neglected cultural contribution made by real but forgotten people. In Naming the Money 2014, 100 cut-out life size figures depict Black servants and labourers who Himid individualises, giving each of them a name and story to work against the sense of the powerless mass. She often takes her paintings off the gallery wall so that her images become objects that surround the viewer. Whether working on Guardian newspapers or directly onto porcelain tableware, Himid continually subjects painting to the material of everyday life in order to explore Black identity.
Himid repeatedly questions the historical role of portraiture, as in works such as A Fashionable Marriage 1987, recently exhibited in The Place is Here at Nottingham Contemporary (2017). Inspired by William Hogarth’s Marriage a la Mode 4 (The Countess’s Morning Levee) 1743, this installation features a brightly coloured stage set with a cast of characters taken from Hogarth’s morality tale. Incorporating painting, drawing and collage on cut-outs, the installation relates its historical inspiration to our current climate by including contemporary newspaper headlines and images of Margaret Thatcher and Ronald Reagan. Himid’s satirical approach takes aim at the politics of the time as well as its legacy today. In works such as these, the artist appropriates and interrogates European painters and combines aspects of her African heritage to question the role of visual power.

Carsten Höller | Double Mushroom Vitrine (Twice), 2016

Carsten Höller | Revolving Doors, 2004-2016

December 05, 2017

Luciano Fabro | Crono, 1991

Rachel Whiteread | Untitled (One Hundred Spaces), 1995 at Tate Britain

One of Britain’s leading contemporary artists, Whiteread uses industrial materials such as plaster, concrete, resin, rubber and metal to cast everyday objects and architectural space. Her evocative sculptures range from the intimate to the monumental.

Born in London in 1963, Whiteread was the first woman to win the Turner Prize in 1993. The same year she made House 1993–1994, a life-sized cast of the interior of a condemned terraced house in London’s East End, which existed for a few months before it was controversially demolished.

This momentous show tracks Whiteread’s career and brings together well-known works such as Untitled (100 Spaces) 1995 and Untitled (Staircase) 2001 alongside new pieces that have never been previously exhibited.

On the lawn outside Tate Britain a new concrete sculpture, Chicken Shed 2017, will sit during the exhibition.

This exhibition is co-organised by Tate and the National Gallery of Art, Washington.

Until January 21, 2018

December 04, 2017

J u n e J o o n J a x x | Q&A with PETER WELZ


Where are you from
Bavaria.... ooops

Where do you live
Berlin - for almost 20 years

Listening to
Currently R.E.M., I love Michael, his thoughts and voice

What’s on your desk
Work work work

Can't live without
My son, my partner - and I really like my beard

Sunny or cloudy
Sunny - not enough of it here in Berlin

Currently reading
Exhibition catalogue of Douglas Gordon

Favorite writer
Samuel Beckett

Daily routine
Beard grooming

Guilty Pleasure
Panoramabar / Berghain

Magazine you can’t miss
Fantastic Mac

Can't travel without
My bloody phone

Written spoken or drawn
Intuition first, then all the rest

Favorite Drink
Gin'n tonic

Would like to meet
Michel Houellebecq

Perfect Sunday
By the sea

Sunrise or sunset
Actually both - depends

Morning or evening person
Evening - for sure

Current state of mind
  Thinking sculpture and space

Role model
William Forsythe

Hobby...? Call it culture

Favorite lyrics
Sweetness follows

Wish you had more time for

Most precious object
Art works of friends and my very old Mini Cooper

Store you could spend hours in
Panoramabar / Berghain 

Inspiration comes from
Footnotes - they´re the best

Currently working on
A new portrait for a large installation

Biggest accomplishment
Exhibition at Musée Louvre being younger than Jesus

▲ Peter Welz Interview Exclusive for June Joon Jaxx▼

November 27, 2017

November 21, 2017

Urs Fischer | You, 2007

November 16, 2017

November 15, 2017

J u n e J o o n J a x x | Q&A with YOAN BELIARD


Where are you from
West of France next to Atlantic Ocean

Where are you based

Listening to
Aphex Twin - Orphans

What’s on your desk
My hands

Can't live without

Sunny or cloudy

Currently reading
Jim Harrison - the road home

Favorite writer
J.G. Ballard

Daily routine

Guilty pleasure
Junk food

Magazine you can’t miss

Can't travel without
My notebook and a pen

Written spoken or drawn
Drawn of course

Favorite Drink
Water with a slice of cucumber

Perfect Sunday
Having time to be bored

Sunrise or sunset
Both at the same time

Dream Concert
 In a few weeks Mount Kimbie: YEAH!

Morning or evening person
Morning person

Current state of mind

Winter + sauna + being naked outside

Wish you had more time to
Looking at the sky

Most precious object
I don't like objects No idea, I´m not so materialistic

Store you could spend hours in
Construction stores and bookstores

Inspiration comes from
When I´m not sleeping completely
When I read/look at books without paying attention
When I walk aimlessly

Currently working on
New plaster stuff

Biggest accomplishment
 My two kids

▲ Yoan Beliard Interview Exclusive for June Joon Jaxx▼

November 12, 2017

November 07, 2017

November 06, 2017

November 05, 2017

November 04, 2017

November 01, 2017

October 31, 2017

October 30, 2017

October 29, 2017

October 27, 2017

Israel Aten at Bonner Kunstverein

Images Mareike Tocha 2017

October 26, 2017

October 25, 2017

Luciano Fabro | Tubo da mettere tra i fiori (Tube to Place among the Flowers)", 1963 (2001 Version)

Steel tube, soil, flowers, plants, variable size
(photo courtesy Galerie Micheline Szwajcer)

October 23, 2017

Damián Ortega | Percentual constellation 2017 | Play Time at White Cube Bermondsey

Fired glazed clay from Zacatecas
Overall dimensions variable
Photo: White Cube (Ben Westoby)

Damián Ortega | Expanded View, 2017 | Play Time at White Cube Bermondsey

Concrete and polystyrene Overall: 11 13/16 x 16 15/16 x 62 3/16 in. (30 x 43 x 158 cm)
Photo: White Cube (Ben Westoby)

Damián Ortega | Genealogy of anything 2017 | Play Time at White cube Bermondsey

Concrete, varnished cardboard, silicone and fiberglass
Overall: 14 15/16 x 19 11/16 x 64 15/16 in. (38 x 50 x 165 cm)

October 21, 2017

October 19, 2017

October 18, 2017

October 16, 2017

October 09, 2017

Matter / Non-Matter | M.A.H. Museum, Terceira Island, Azores

Antonio Bokel, Gabriela Maciel, Gioia di Girolamo, Maurizio Vicerè, Ivan Divanto, Patric Sandri, Paulo Arraiano, Paulo Ávila Sousa

Re_act Contemporary Art Laboratory
2017 Edition - Azores Islands - 19 Sept- 2 Oct

Co-Curated By no.stereo and TAL Projects
Commissioned By DRAC Azores