MISS PEREGRINE’S HOME FOR PECULIAR CHILDREN

Posted on 2016-09-26

From visionary director Tim Burton, and based upon the best-selling novel, comes an unforgettable motion picture experience. When Jake discovers clues to a mystery that spans alternate realities and times, he uncovers a secret refuge known as Miss Peregrine’s Home for Peculiar Children. As he learns about the residents and their unusual abilities, Jake realizes that safety is an illusion, and danger lurks in the form of powerful, hidden enemies. Jake must figure out who is real, who can be trusted, and who he really is.

In theatres September 30th, 2016

miss-peregrines-home-for-peculiar-children

  

MARIANNE VLASCHITS

Posted on 2016-09-26

If you type the phrase woman on mars into the Google image search, a ghostlike figure appears across the first dozen hits, dated 2015. She is caught wandering through the borealis basin, stepping between oxidized rock formations as the Mars Curiosity Rover documents her from afar. She looks so agile, so at ease on this red smoldering planet – more so than her male counterpart, sitting back on earth, his eyes pressed against the pixels of the transmitted image through the void-like lens of his robotic rover. Land-bound he can only stare impotent into the screen, yearning for his own astral projection.

Marianne Vlaschits’s exhibition offers us the new cosmos as a social system, where females hold the primary power. Predominantly through travel, political leadership, moral authority and social privilege. Culture is paramount in this new world and maintained at the highest value for each space traveling unit and its users. Vlaschits turns the gallery into a blueprint for an interstellar spaceship designed for comfort, not too unlike a cruise liner in the Bahamas but for life. She also extends the user’s ability to travel via a mind-altering digital video that plays with the effects of N,N-Dimethyltryptamine (DMT or N,N-DMT), a powerful psychedelic compound that offers the traveller a rapid onset of action and affect – holidaying has never been so unreal.
Vlaschits’s radical solo female commander narrative and progressive space offers a disturbance in the systems of patriarchy – leaving behind the macho matter and their binary tech gadgets staring and lusting at the sun until they eventually go blind with lost pride.

Opposite – Television, 2016

Exhibition runs through to October 29th, 2016

DUVE Berlin
Gitschiner Strasse 94/94a (Entrance D, Floor 2)
10969 Berlin
Germany

www.duveberlin.com

  

SADIE BENNING – L’OEIL DE L’ESPRIT

Posted on 2016-09-26

Sadie Benning started making experimental videos as a teenager in 1988. The low-fi black and white videos explored aspects of identity, language and memory. Improvising with materials that were immediately available at the time, Benning constructed moving images from found objects, drawings, text, performance and personally shot footage. The form, content and poetics explored in these earlier video works has expanded over the past two decades, as the artist continues to wrestle with evolving, political, conceptual and material questions. More recently, Benning has produced wall-mounted works that trouble the categories of painting, drawing and sculpture. These works begin with a tracing on a single panel of wood. The component parts of the image are cut-out, layers of aqua-resin are applied to these forms, which are then sanded and molded, and finally fit back together to form the final composition. When assembled, the gaps between the pieces becomes a conceptual space of personal projection: “There is a space between the panels that is the third space I’m talking about – the place where you have to picture something else. You have to imagine the line that is missing. It’s just air, and shadow.”

The objects in Mind’s Eye were produced with the intention of exploring this generative liminal space between language and experience. Each of the works in the exhibition has a single word title: Night, Park, Thoughts. While these words may literally describe some part of the images contained within the work, they also highlight the associative nature of these compositions and the viewer’s own hermeneutic impulse. Unlike many of Benning’s previous exhibitions, Mind’s Eye was produced without a specific narrative in mind. What emerged in the production of the work is a series of poetic connections that explore the profound limits of the utility of language to describe identity and represent individual experience

Opposite – Television, 2016

Exhibition runs through to October 29th, 2016

Air de Paris
32, rue Louise Weiss
75013 Paris
France

www.airdeparis.com

  

DONALD MOFFETT – ANY FALLOW FIELD

Posted on 2016-09-26

Any fallow field includes Moffett’s latest extruded paintings, contemplating the natural world. With these signature works, the artist coaxes his oil paint into individual tendrils that are perpendicular to the canvas. These paintings are counterbalanced by a new series of resin works, whose glossy and translucent faces hint at their depth. While the structural form remains consistent within both bodies of work, with their milled holes and cutouts resembling buckshot or flora, the surfaces are unambiguously inversed. In their simplest form, the resin works are a study of material, purely viscous—like honey clinging to the comb. At their most complex, Moffett fuses tinted resin atop photographs that he took over the last year—the images abstracted and suspended as a beetle in amber. Born and raised in Texas, Moffett shares an instinctive kinship with the taciturn environs of his childhood, capturing in photographs barren landscapes, wildflowers, roadsides and fields littered with the remainders of human intervention.

The distinctions between abstraction and representation are blurred throughout the artist’s oeuvre with his employment of the canvas as a surrogate for the body, and in these new works, by his obliteration of the image through perforation and obscuration. This penetration of the painting as object has long concerned Moffett in his frustration with and desire to overcome the limits of the “wall,” compelling him not only to pierce the picture plane but also expand its spatial boundaries.

Opposite – Lot 082916 (fallow field and farmhouse), 2016

Exhibition runs through to October 15th, 2016

Marianne Boesky Gallery
509 West 24th Street
New York
NY 10011

www.marianneboeskygallery.com

  

A TRIBE CALLED QUEST QUEENS MURAL

Posted on 2016-09-26

25 years after the release of their classic LP Low End Theory, watch as a mural honoring A Tribe Called Quest goes up at the site of their iconic 1991 video for “Check The Rhime.”

www.okayplayer.com

  

MARCO BREUER – SILENT SPEED

Posted on 2016-09-26

Free-flowing shapes loop in and out of photographic color works (ranging in size from 14 by 11 to 30 by 24 inches), Polaroid sequences, small collages, studies for double-pages, and a newsprint tabloid publication. Breuer’s shapes hover between silhouettes, logos, human form, and shadows. There is a palpable tension between figure and ground, a precarious balancing between negative and positive space.

Motifs reoccur and transform as they move from one format to another. Breuer’s lines, both freehand and guided, trace movement and suggest incessant mutability. Lines build up to form planes that suggest volume before disintegrating back into lines. Breuer’s visual language remains open-ended and lucid throughout. The work overall has a provisional quality; every manifestation is just one of many potential versions, an outtake in a sequence of possibilities. Two vitrines present some of these variants in a series of folders that function for Breuer as both preliminary sketches and debriefing exercises to reflect back on existing images.

As with much of Breuer’s work, the images in Silent Speed are the result of a negotiation between the tool, the hand, and the photographic materials employed. Shapes take form through a process of subtraction by which emulsion is physically removed to reveal the raw substrate of the paper. Rigorous and playful at the same time, these abstractions led Breuer to new work in front of the camera in which he positions himself in the shape of his abstractions. In sequences that evoke Buster Keaton’s gymnastics, Breuer transposes his form-finding lexicon to his own body. In these interpretations, we feel the forms in our own bodies as fluid, awkward, funny, and moving.

Opposite – Untitled (C-1778), 2016

Exhibition runs through to October 29th, 2016

Yossi Milo Gallery
245 Tenth Avenue (between 24th & 25th St.)
New York
NY
10001

www.yossimilo.com