KAWS has released a black version of his Companion Resting Place vinyl figure, after only dropping the grey version a few days back. The black/multicolor version will release on Kawsone.com today at noon EST, and as usual you will have to be very quick.
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Drawing inspiration from the early work of the Boyle Family and sharing their concerns for the pictorial quality of the everyday – and from the current interest in ruination and urban exploration, this work re-presents and re-aestheticises marks made by rust, salt, wear, abrasion and contingent alteration. His work draws our attention back to the sea, and is a fitting exhibition to be held in a warehouse gallery that is itself so redolent with memories of trade and the business of Empire.
It was suggested early in the study that he should make the marks `of an architect’ in response to the experience of visiting these sites of dereliction. It was not clear how an architect typically might make marks, unless these were to be measured or orthogonal; certainly privileging the visual, and delineating the boundaries of space, rather than the gradations of texture, of accretions and of contingent archaeology. It was an unplanned part of the academic unfolding of the subject that in late 2008 the first paintings were made.
Exhibition runs through to March 31st, 2013
Anise Gallery
13a Shad Thames
London
SE1 2PU
Let’s look. Whereas Alberti said that a painting should represent people of all ages and conditions, in my exhibition there will be paintings that span the entire range of possibilities in terms of the nature of the pictures. There are those based on real documents (television images) and those based on fictitious documents (other paintings). There will be pictures taken directly from reality-in their own way, all these pictures are records of something real translated into painting codes-and images that only exist in and of themselves. Fictitious images will be missing.?The absence should stand out noticeably, because I want to address the real, not simulations. I am aware of the important blend of fiction and non-fiction in the art production of recent years, which forces us to take a stand in this regard. My stance is that interpretation of reality is already a fiction. It may address a real world or a fantasy world. Imagination entertains us, but what we need to change is the real world. We can fictionalize it partially so as to make it more habitable and thus use it so as not to see what it is made of, and especially so as not to know how it may change.
There are two series in this space, one that ends and another that begins. The times with their own waves of transformations are what compel the changes. I am not going to dwell on the effects of the economic crisis or the loss of credibility, not to mention the legitimacy, of politics, and the sensation of the dictatorship of capital. The two series blend together in the exhibition and I hope something unique is born of their dialogue.
Exhibition runs through to March 26th, 2013
Galería Fúcares Madrid
Calle Doctor Fourquet 28
28012 Madrid
Spain
“Das Jahrhundert der Judenbuche” (The Century of the Jewish Beech) is the heading of Adam Adachs thoughts that he has neatly divided into a text of four sections. The Berlin exhibition, to which these thoughts belong, is prepared in a period when the German newspapers are full of the term “century”. Yet the turn of the last century, also the turn of a millennium, is more than ten years back in time. Recently, however, the book “1913: Der Sommer des Jahrhunderts” (1913: The Summer of the Century) was released. In this book art historian Florian Illies describes that summer one hundred years ago, the year before the First World War began.
Adach is known for basing his paintings on photos, as are many other artists, among them Gerhard Richter. “Nazi holidays” shows a beach scene. Sparsely-clothed people are lying or sitting on the beach or are standing at the railing watching the sea. Unrecognizable flags are hanging from the flagpoles; the sail of the boat on the horizon is as white as a flag of truce. Only the title brings cruelty to the painting. In the century of two world wars, the murderers and their families, and also those who had brought them to power, were sunning themselves on the beach. Kraft durch Freude – Strength through Joy.
Exhibition runs through to March 23rd, 2013
Maerz Contemporary
Weimarer Str. 16
D – 10625 Berlin
Germany
Belgian designer Raf Simons dropped a number of casual pieces for Spring/Summer season. Transcending the confines of traditional menswear the collection emits an apparent androgynous vibe, that manifests in a range of colourful staples, including sweaters, t-shirts, a light jacket and a muscle shirt bearing the eye-catching artwork by Brian Calvin.
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The PUMA Made in Japan “Python” collection is a range of new pieces of footwear with a distinct reptile twist. The First Round, Basket and Slip Stream have been realized in either predominantly white or black silhouettes – each with an homage to the animal kingdom due to both print and fabric choices.
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