Swedish design firm Henzel Studio has teamed up with leading contemporary artist including Juergen Teller, Richard Prince and Helmut Lang to create handmade art rugs and more recently, contemporary art pillows. Curated by Joakim Andreason, their new exhibition titled “Collaboration / Heritage” opens today at Colette together with a limited edition collection of art pillows in collaboration with AVAF, Scott Campbell, Robert Knoke, Nan Goldin, Richard Phillips, Jack Pierson, Anselm Reyle, Juergen Tellerand Tom of Finland. The exhibition is on view until 18th of April at Colette, 213 rue Saint-Honoré, 75001 Paris. Photo courtesy of Henzel Studio
The 12th Sharjah Biennial, curated by Eungie Joo and including work from over fifty artists including Purple's favorite Rirkrit Tiravanija, opened on March 5th in the various art spaces dotted along the Corniche at the heart of the city. I traveled over to Sharjah from Dubai, excited to see both the curated works and the galleries themselves, especially Sharjah Art Foundation; a complex comprising several "houses" whose architecture plays beautifully with light and shadow. Other venues, such as the Sharjah Art Museum, Bait Al Serkal, Sharjah Institute for Theatrical Art, also give the Biennial a unique atmosphere and give you the opportunity to walk through the city as you navigate between them. The Biennial is part of Sharjah, operating with and within it: two site-specific installations are located in warehouses on the other side of the Creek at Port Khalid, a spot reachable most easily by water taxi. I took the abra over with a group of other visitors and artists (all of us pretty confused as to whether we were going in the right direction) and locals who use the abra as their daily transport (who seemed pretty confused why this group of people wanted to go to an abandoned warehouse in the middle of the port). In the end we found it. A security guard greeted us quietly while the late-afternoon sun beat down onto his face.
“City Limit” curated by Colin Snapp, brings together a body of work at the margins of society. The works investigate the technology and composition used to view the world with a focus on spaces often overlooked. Shopping malls and terminals are treated with the same sensitivity as landscape photography, accentuating how these peripheral environments seamlessly interweave with today’s culture. The familiar feelings of these spaces become uncanny when represented as works of art. A work by Trevor Paglen and Doug Rickard’s google earth images highlight modern surveillance techniques. Thomas Struth’sphotograph of the Galleria Dell Accademia from the perspective of Michalengelo’s "David" accentuates the act of viewing. This exhibition presents human behavior in suburbanized environments, capturing un-stylized reality and the absurdity of everyday experiences.
"City Limit" is on view until May 3th at The Journal Gallery, New York. Text and Photo Elise Gallant
Matt Kenny presents caricatures of One World Trade Center, also known as the Freedom Tower, in detailed oil paintings. The style mimics New York street artists portrait parodies. Kenny anthropomorphizes the building into a looming creature bent on capturing the soul of New York City. On it’s homepage One World Trade Center self describes as “safe, sustainable, artistically dynamic - One WTC stands as a shining beacon for New York’s Downtown”. As the tallest building in America and given the violent past of this location, One World Trade Center’s influence extends far beyond downtown New York, a feeling referenced by the never ending horizon in Kenny’s leading painting. The progression of Kenny’s works in the gallery pull ever closer to the building, transitioning across the three paintings from night, to dawn, to day. “See Forever” also exhibits a shaped-canvas representation of binoculars, referencing the surveillance culture burgeoning in America within the years of the One World Trade Center's construction, and the technology necessary to connect with the building’s surroundings from it’s observation deck.