OFluxo http://www.ofluxo.net Exploring Visual Culture. Mon, 21 Aug 2017 11:17:15 +0000 en-US hourly 1 https://wordpress.org/?v=4.7.5 http://www.ofluxo.net/wp-content/uploads/2016/06/cropped-ofluxo_lnk-32x32.png OFluxo http://www.ofluxo.net 32 32 Creatures of Habit by Pakui Hardware at SIC http://www.ofluxo.net/creatures-of-habit-by-pakui-hardware-at-sic/ http://www.ofluxo.net/creatures-of-habit-by-pakui-hardware-at-sic/#respond Mon, 21 Aug 2017 11:17:14 +0000 http://www.ofluxo.net/?p=28659 Immersed in leisure while automated bodies scurry around carrying out our daily routines and work, we devote ourselves to spiritual and cultural augmentation, cultivation of our creativity and fitness. Everyone is familiar with such kind of phantasy of automation. It is, of course, accessible to only part of the future post-working class.

While as today, metallic bodies of the automated companions are stretched over with uniforms. Shielding their surfaces from hazardous environments, these clothing, made of disposable cellophane, soft textiles or expensive hard duty, heat-resistant fabrics, bring them even closer to their human coworkers, blending the organic and automated into a synthetic whole. The covered ‘bodies’ merge machine-human features and gestures, creating an assembly of yet unknown or transitory species.

Materials: iron, water-proof heavy duty fabric, UV prints on silicone, chia seeds, liquid containers, repair lamp, silicone rubber.

The exhibition is produced in collaboration with Kiasma Theatre’s URB 17 Festival.

Architects of the exhibition: Ona Lozuraitytė and Petras Išora.

Photo credits: Pakui Hardware

Pakui Hardware is the collaborative artist duo formed by Neringa Černiauskaitė and Ugnius Gelguda. In their work, the duo traces Capital traveling through bodies and materials. The artists are represented by EXILE, Berlin. Their latest solo shows include venues of MUMOK, Vienna, EXILE, Berlin, Tenderpixel, London (forthcoming), Podium, Oslo, ExoExo, Paris, kim? Contemporary Art Center, Riga, Jenifer Nails, Frankfurt, Contemporary Art Centre (CAC), Vilnius, 321 Gallery, Brooklyn, New York. The artists have participated in group shows at Kunsthalle Basel, Switzerland, Kunstverein Brauschweig, Germany, Assembly Point, London (forthcoming), 20th Contemporary Art Festival Sesc_Videobrasil, São Paulo (forthcoming), National Gallery of Art, Vilnius, Kunsthalle Tallinn, Valentin, Paris, Zacheta National Gallery Showroom, Warsaw, among others.

~~~

Creatures of Habit
by Pakui Hardware

at SIC, Helsinki
5.8.–3.9.2017

SIC

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Afterbirth of a Dream at Galerie MeetFactory http://www.ofluxo.net/afterbirth-of-a-dream-at-galerie-meetfactory/ http://www.ofluxo.net/afterbirth-of-a-dream-at-galerie-meetfactory/#respond Fri, 18 Aug 2017 13:52:56 +0000 http://www.ofluxo.net/?p=28602 Cool blue morning by the creek, soft remote flute calls, sad and sweet from a dying star. Phosphorescent stumps glow in the blue twilight that hangs over the streets at noon like a haze.
-William S. Burroughs, Cities of the Red Night

The afterbirth, the primordial ooze.
It starts with a dream. A virus. A fever.

The exhibition Afterbirth of a Dream is the result of a curatorial collaboration between Jan Zálešák and Christina Gigliotti; a stand-alone sequel to two projects curated by Jan Zálešák; Apocalypse Me (2016) and Letting Go (2017). The common leitmotif of the informal trilogy remains focused on the frontier regions of the human world – areas where borders between realms of the human and inhuman are dissolved. The artworks presented within the exhibition move away from the sphere of ”normality“, from the supreme domain of a modern, rational subject. Todays’ subjectivity is shaped by a delirical experience with the constantly rearranged and transforming content of the Net, floating as a ghostly representation over the not well-kept facade of ”reality,“ beyond which nothing is at it seems, and lasts only for a moment. Under the surface of human bodies there is a symbiotic multispecies universe, beneath the displays of smart devices – machinic assemblages of human and inhuman, below the surface of consciousness there are nebula of dreams and affections, ready to explode at any time and then absorb everything like a black hole.

The literary black hole that is Cities of the Red Night by William S. Burroughs can be used as a guide to help us navigate and attempt to access a version of reality in which the hegemonic barriers between species has been eradicated. Thus, not only does human consciousness not rule over all other forms, but also, conscious beings are not bound by their physical bodies. In the book’s reality, human, animal, alien and machine each squarely battle for their place in the cosmos. Through this chaos, the main protagonist inhabits numerous bodies on different planets through-out his time-traveling journey. Thus, the reader is thrown into the minds of organisms experiencing various levels of consciousness. Scenes are often set during or after dreams have taken place. The main character’s feverish hallucinations, orgasmic convulsions, drug-induced blackouts, and dream-like imageries allow for a complete immersion of belief or open-mindedness to new possibilities of existence. What seems logically impossible in waking life ultimately becomes accepted through these altered states. The exhibition Afterbirth of a Dream’s hazy, oozy reality thus endeavours to conjure up this state – the short moment between full wakefulness and slumber – in order to explore what a more tentacular and fluid, shape-shifting reality might look like. Always moving or slipping across realities, certain recognizable figures throughout the exhibition come to the foreground, if only to disappear again.

-Christina Gigliotti

Afterbirth of a Dream, 2017, Exhibition Installation View, MeetFactory

Afterbirth of a Dream, 2017, Exhibition Installation View, MeetFactory

Zsófia Keresztes, Lonely Dinner, 2017

Zsófia Keresztes, Lonely Dinner, 2017

Zsófia Keresztes, Lonely Dinner, 2017

Zsófia Keresztes, Lonely Dinner, 2017

Zsófia Keresztes, Lonely Dinner, 2017

Zsófia Keresztes, Lonely Dinner, 2017

Zsófia Keresztes, Lonely Dinner, 2017

Zsófia Keresztes, Lonely Dinner, 2017

Leon Eisermann, Paint Huffers Choice, 2017

Leon Eisermann, Paint Huffers Choice, 2017

Leon Eisermann, Mitzubishi Overdrive, 2017

Leon Eisermann, Mitzubishi Overdrive, 2017

Afterbirth of a Dream, 2017, Exhibition Installation View, MeetFactory

Jan Brož, Zalesak, 2017 (metal plate + 2 drawings on the left side) a Leon Eisermann, Untitled, 2017 (6 drawings)

Jan Brož, Zalesak, 2017 (metal plate + 2 drawings on the left side) a Leon Eisermann, Untitled, 2017 (6 drawings)

Jan Brož, Zalesak, 2017 (metal plate + 2 drawings on the left side) a Leon Eisermann, Untitled, 2017 (6 drawings)

Afterbirth of a Dream, 2017, Exhibition Installation View, MeetFactory

Estrid Lutz & Emile Mold, Still Life Without You, Hanging Flower, 2017

Estrid Lutz & Emile Mold, Still Life Without You, Hanging Flower, 2017

Estrid Lutz & Emile Mold, Still Life Without You, Care, 2017

Estrid Lutz & Emile Mold, Still Life Without You, Care, 2017

Estrid Lutz & Emile Mold, Everyday With You, Zone I to V, 2017

Estrid Lutz & Emile Mold, James Darle Embracing Zone X, 2017

Estrid Lutz & Emile Mold, Crush, Zone IX, 2017

Estrid Lutz & Emile Mold, Crush, Zone IX, 2017

Carl Palm, Cheeky Little Whippets, 2017

Carl Palm, Cheeky Little Whippets, 2017

Carl Palm, Cheeky Little Whippets, 2017

Carl Palm, Cheeky Little Whippets, 2017

Afterbirth of a Dream, 2017, Exhibition Installation View, MeetFactory

Carl Palm, Cheeky Little Whippets, 2017

Afterbirth of a Dream, 2017, Exhibition Installation View, MeetFactory

Leon Eisermann, One Club Town, 2017

Leon Eisermann, One Club Town, 2017

Leon Eisermann, One Club Town, 2017

Leon Eisermann, Untitled, 2017

Leon Eisermann, Untitled, 2017

Afterbirth of a Dream, 2017, Exhibition Installation View, MeetFactory

Anna Slama & Marek Delong, Fake People Problems Theatre, 2017

Anna Slama & Marek Delong, Fake People Problems Theatre, 2017

Anna Slama & Marek Delong, Fake People Problems Theatre, 2017

Anna Slama & Marek Delong, Fake People Problems Theatre, 2017

Anna Slama & Marek Delong, Fake People Problems Theatre, 2017

Anna Slama & Marek Delong, Fake People Problems Theatre, 2017

Anna Slama & Marek Delong, Fake People Problems Theatre, 2017

Anna Slama & Marek Delong, Fake People Problems Theatre, 2017

Anna Slama & Marek Delong, Fake People Problems Theatre, 2017

Anna Slama & Marek Delong, Fake People Problems Theatre, 2017

Pavel Sterec & Tereza Stöckelová, Vital Syndicates, 2017

Pavel Sterec & Tereza Stöckelová, Vital Syndicates, 2017

Pavel Sterec & Tereza Stöckelová, Vital Syndicates, 2017

~~~

Afterbirth of a Dream
at Galerie MeetFactory, Prague, The Czech Republic

w/ Jan Brož, Leon Eisermann, Zsófia Keresztes, Estrid Lutz & Emile Mold,
Carl Palm, Anna Slama & Marek Delong, Pavel Sterec

Curated by Christina Gigliotti and Jan Zalešák

June 10 – September 10, 2017

Galerie MeetFactory

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‘A Midsummer Night’s Remedy’ by Bora Akıncıtürk and Pierre Clement at CLEARVIEW.LTD, London http://www.ofluxo.net/a-midsummer-nights-remedy-by-bora-akinciturk-and-pierre-clement-at-clearview-ltd-london/ http://www.ofluxo.net/a-midsummer-nights-remedy-by-bora-akinciturk-and-pierre-clement-at-clearview-ltd-london/#respond Wed, 16 Aug 2017 11:00:34 +0000 http://www.ofluxo.net/?p=28585 “If we shadows have offended,
Think but this, and all is mended,
That you have but slumber’d here
While these visions did appear.
And this weak and idle theme,
No more yielding but a dream,
Gentles, do not reprehend:
if you pardon, we will mend:
And, as I am an honest Puck,
If we have unearned luck
Now to ‘scape the serpent’s tongue,
We will make amends ere long;
Else the Puck a liar call;
So, good night unto you all.”

Puck, in Shakespeare’s ‘A Midsummer Night’s Dream’, is like the hand of the devil or god. A clever, mischievous elf, jester to Oberon, the fairy king who stirs up trouble after feuding with his wife Titania, the queen of fairies for custody of a changeling boy.

While his presence shape the general narrative of Shakespeare’s comedic play, his acts point out a twisted use of alchemy and a perversed form of communication. His adapted monologue becomes a stimulant of the show aiming to apologise and promote the absurd and abstract tone of the way artistic collaboration of Pierre Clement and Bora Akıncıtürk assembles itself.

Their collaboration, throughout the process of making, creates its own gradual fiction, thus it becomes a persona of absurdity and trickery. Truth in their possession becomes only a contemporary subjectivity of fictional, a degenerated fantasy, an empowered chaos and a sense of absurd uncertainty.

The works reshape themselves as the remedies of this trickery and become validated solutions, and cures of the so called dream.

~~~

A Midsummer Night’s Remedy
by Bora Akıncıtürk and Pierre Clement
at CLEARVIEW.LTD, London, UK
01 July- 23 July 2017

CLEARVIEW.LTD

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‘Brass Jingle / Brutalist Jungle’ – Group exhibition curated by Keith J. Varadi at Et al., San Francisco http://www.ofluxo.net/brass-jingle-brutalist-jungle-group-exhibition-curated-by-keith-j-varadi-at-et-al-san-francisco/ http://www.ofluxo.net/brass-jingle-brutalist-jungle-group-exhibition-curated-by-keith-j-varadi-at-et-al-san-francisco/#respond Thu, 10 Aug 2017 10:54:32 +0000 http://www.ofluxo.net/?p=28564 This is a cinema, technically speaking. Learn how to live on a practice lease.

Swamp things are getting murky in the present. Now pass the Breton back to the future again. Horses on a homestead; pigeons in a parking lot.

A person, moved by a picture. A picture moves like a person.

Sit on the soot that bakes your stake. Out on the circuit, bored again. This life is more than we make of it.

Exhibition view

Exhibition view

Anne Libby
Vinegar Can Sometimes Cut Grease, 2017
Laminate, Seaweed, Formica, PolyEthylene, Powder-Coated Steel, Mylar
6.5’ x 7” x 2’

Anne Libby
Vinegar Can Sometimes Cut Grease, 2017
Laminate, Seaweed, Formica, PolyEthylene, Powder-Coated Steel, Mylar
6.5’ x 7” x 2’

Anne Libby
Vinegar Can Sometimes Cut Grease, 2017
Laminate, Seaweed, Formica, PolyEthylene, Powder-Coated Steel, Mylar
6.5’ x 7” x 2’

Exhibition view

Peter Harkawik
“But…” chair, 2015
316 stainless steel
21 x 14 x 15

Peter Harkawik
“But…” chair, 2015
316 stainless steel
21 x 14 x 15

Exhibition view

Exhibition view

Merideth Hillbrand
Kumquat Squat, 2017
Plywood, resin, foam, aluminum, inkjet print
31 x 25 x 10”

Merideth Hillbrand
Kumquat Squat, 2017
Plywood, resin, foam, aluminum, inkjet print
31 x 25 x 10”

Exhibition view

Matt Siegle
UDO #68. Monument for XP Home Station dot com: Wiki Enola Gay [partial], 2017
Found microwave, Starbucks DOUBLESHOT ENERGY can, vertebra, organic grocery bag, accessory cord,
recycled denim, wood, acrylic paint, LED
12 x 28 x 35”

Exhibition view


John Wilson
How To Clean A Cast Iron Pan, 2012 (excerpt)
Video


John Wilson
How to Remain Single, 2015 (excerpt)
Video


John Wilson
How to Walk to Manhattan, 2013 (excerpt)
Video

~~~

Brass Jingle / Brutalist Jungle

w/ works by Peter Harkawik, Merideth Hillbrand,
Anne Libby, Matt Siegle, John Wilson

Curated by Keith J. Varadi
June 9 – July 15, 2017
at Et al. , San Francisco

Et al.

]]> http://www.ofluxo.net/brass-jingle-brutalist-jungle-group-exhibition-curated-by-keith-j-varadi-at-et-al-san-francisco/feed/ 0 ‘Usher 3: Reloaded’ by Connor Crawford at February, Austin http://www.ofluxo.net/usher-3-reloaded-by-connor-crawford-at-february-austin/ http://www.ofluxo.net/usher-3-reloaded-by-connor-crawford-at-february-austin/#respond Tue, 08 Aug 2017 10:39:39 +0000 http://www.ofluxo.net/?p=28539 January 9, 2007 - It’s 8:23AM.

Extension 273 rings through the 32nd floor of an almost empty office building.

Maintenance is meant to come by to fix the florescent light that won’t stop flickering. One of the women working on the floor calls it the “ghost light” because she claims a ghost is flicking the switch on and off as an act of what she calls “emotional terrorism.”

Extension 273 continues to ring.

Through the reinforced steel walls of the vault a man hears the muffled ring of Extension 273. Unsure of the call’s importance he hesitates to drop what he’s doing to answer the call. In the moments between rings he stands there frozen holding Botticelli’s “Portrait of a Lady Known as Smeralda Brandini.” The muffled ring returns and now his paranoia sets in wondering if it is, in fact, his extension that is ringing - he drops the painting and heads towards the vault door.

Cmd, Arm, 830522, Cmd.

With long strides the man makes it down the hall. With each step he is able to locate the ring with an increasing certainty. He is now sure it is coming from his office. He wonders if this will be the call letting him know that he has been fired. After all when he signed his contract the head of the HR departments welcoming words were “Don’t get too comfortable here.” Furthermore, just yesterday the man’s boss pretended to jab a pen into his neck - extension 273 rings again.

The man lunges towards his phone. He notices it’s raining.

“Hello?”

“Mr. Takamoto is dead.”

The man hears a click on the other end of the line leaving him alone in his office with only the white noise of the empty call and the buzzing of the ghost light. Feeling both dejected, and confused, the man slumps back in his chair looking at his computer screen - it has gone to sleep in his absence.

Ctrl, Alt, Delete, 8kandeng$, Enter.

The man rubs his face and his eyes start to burn, he looks at his hands and realizes how dirty they are. Tears start to build up along the man’s eyelids, he wonders if this is from the news of Mr.Takamoto’s death or from the dirt his eyes are now trying to flush out. Acting on habit and muscle memory the man opens Google Chrome.

Ctrl, T, You.

www.youtube.com autofills the browser’s search bar and Youtube’s main page loads. The man checks his subscriptions and scrolls through the trending videos of the day in a subconscious effort to avoid processing Mr. Takamoto’s fate. As the man scrolls down he arrives at a video titled “Scooby-Doo! Ghost Chase & Capture,” the leading video in a curated selection under the heading “Recommended.” The man stares wide-eyed at the video thumbnail feeling confused before deciding to get up and head back to the vault.

As he walked back down the hall the man was unaware that as a product of Google, Youtube’s algorithm is built on the Google Brain, a deep learning neural network that is able to learn approximately one billion parametres and are trained using hundreds of billions of working examples. Criteria such as Scale, Fresheness, and Noise all represent ways that the neural network distills, and crafts, a facsimile of his preferences and desires - each click becomes a fingerprint left behind.
Perhaps the confusion the man felt looking at the Scooby-Doo thumbnail came from the simple fact that he forgot he had been emailing with a dealer in Los Angeles regarding an upcoming auction of original hand-painted Scooby-Doo animation cell.

830522, Cmd.

The Steel door swings open and the HVAC system kicks in. Instead of returning to the woman in the window, the man looks towards an unopened package sitting on top of a box labelled “Playing card made from Human Skin” - it was the ace of spades no less. He gets close enough to the package that he can read the shipping details.

“Original cell from ‘A Gaggle of Galloping Ghost’ 1969. Hanna-Barbera Productions, INC.” After removing layers of foam, glassine, and mylar the man reveals a still frame from episode 11 of the first season of “Scooby-Doo, Where Are You!” that originally aired in 1969. As he lifted the composition up to get a closer look, Velma fell off the page and the haunted mansion background shifted down and to the left. The man hadn’t noticed before but each element of the scene (characters, props, set, background) was hand painted onto a separate layer of clear mylar in order to isolate the animation to specific part of the scene. The secret-door-bookcase stage right does not need to be redrawn every frame if the scene between Shaggy and Scooby is unfolding stage left. As the man shifted the background layer to be square with the rest of the composition he left a clear thumbprint on the mylar. As the man started to worry he had ruined the artwork, he tried to rub off the fingerprint only to spread the dirt and grease further. Key to what allows this animation to coalesce into a entertaining scene is when the structure remains invisible, which allows the content to become subject matter. However, as soon as you can see the fingerprints the illusion breaks down and it is exposed as a fiction.

Extension 273 rings again.

USHER 3: Reloaded, is a new solo exhibition by Connor Crawford at February Gallery in Austin, Texas. Through a series of wall-mounted sculptures Crawford points to the paradox that is the attention economy. While participating in a collective push towards individual expression the digital fingerprints created by culture add to a growing stream of saleable data. This user-generated expression-driven data ultimately finds its way back to the individual in the form of recommendations on what to watch, wear, read, and of course buy next. As this feedback loop repeats itself, the portrait of the individual is meant to become clearer and clearer; however, with each successive layer that is added, the fingerprints that are left behind have created a soft obstruction of the original. The result is a transition from individual into stereotype and taste into trope.

– Text by Parker Kay

Installation view

Installation view

Installation view

Installation view

Connor Crawford,
Window Interioir to NIGHT in House at Night with Branch and Rain, 2017,
Wood, Acrylic, Recycled Water, Submeribale Pump, Arduino, Electronics,
Artificial Foliage, Mixed Media – 44 x 24 x 9.5 in.

Connor Crawford,
Window Interioir to NIGHT in House at Night with Branch and Rain, 2017,
Wood, Acrylic, Recycled Water, Submeribale Pump, Arduino, Electronics,
Artificial Foliage, Mixed Media – 44 x 24 x 9.5 in.


Connor Crawford,
Window Interioir to NIGHT in House at Night with Branch and Rain, 2017,
Wood, Acrylic, Recycled Water, Submeribale Pump, Arduino, Electronics,
Artificial Foliage, Mixed Media – 44 x 24 x 9.5 in.

Connor Crawford,
Window Interioir to NIGHT in House at Night with Branch and Rain, 2017,
Wood, Acrylic, Recycled Water, Submeribale Pump, Arduino, Electronics,
Artificial Foliage, Mixed Media – 44 x 24 x 9.5 in.

Connor Crawford,
Study or Library Book Wall, Maybe House Facade Medium Large, 2017,
Wood, Leather, Acrylic, Rubber Mouse, Hardware
– 42 x 26 in.

Connor Crawford,
Study or Library Book Wall, Maybe House Facade Medium Large, 2017,
Wood, Leather, Acrylic, Rubber Mouse, Hardware
– 42 x 26 in.

Connor Crawford,
Floor Wood with Hole Maybe: Mouse, Corner, 2017
Wood, Acrylic, Hardware, 15.5 x 13 x 3.5 in.

Connor Crawford,
Floor Wood with Hole Long, 2017
Wood, Acrylic, Hardware, 45 x 3.5 x 1.25 in.

Connor Crawford,
Maybe Bouquet Painting, Wall Art, Picture in Frame, Medium, 2017,
Original Print on Canvas, Artist Frame,
Unique Hardware – 21.5 x 17.5 in.

Connor Crawford,
Maybe Woman Person Portait Painting, Wall Art, Picture in Frame, Medium, 2017,
Original Print on Canvas, Artist Frame,
Unique Hardware – 21.5 x 17.5 in.

Connor Crawford,
Landscape Sky Painting, Picture in Frame, Small, 2017,
Original Print on Canvas, Artist Frame,
Unique Hardware – 13.75 x 15.75 in.

Connor Crawford, Lighting
Fixture, Bulb Swing, 2017,
Wood, Arduino, Motor, Electronics, LED,
Glass Bulb, Hardware – Dimensions variable


Connor Crawford, Lighting
Fixture, Bulb Swing, 2017,
Wood, Arduino, Motor, Electronics, LED,
Glass Bulb, Hardware – Dimensions variable

~~~

‘Usher 3: Reloaded’
by Connor Crawford
at February, Austin, US
June 22nd 2017 – August 20th 2017

February

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GEOLOGOS.SPACE http://www.ofluxo.net/geologos-space/ http://www.ofluxo.net/geologos-space/#respond Fri, 04 Aug 2017 11:38:58 +0000 http://www.ofluxo.net/?p=28531

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‘Through the people we are looking at ourselves’ by Tau Lewis and Curtis Santiago at Cooper Cole, Toronto http://www.ofluxo.net/through-the-people-we-are-looking-at-ourselves-by-tau-lewis-and-curtis-santiago-at-cooper-cole-toronto/ http://www.ofluxo.net/through-the-people-we-are-looking-at-ourselves-by-tau-lewis-and-curtis-santiago-at-cooper-cole-toronto/#respond Thu, 03 Aug 2017 00:59:29 +0000 http://www.ofluxo.net/?p=28488 I want to know where they locate value.

I want them to have comfort and I want access to them. I want to bring them together sometimes. I want to do things with them, and document it. I want to know the owners and see where they locate value.

I am thinking about landscapes inside.

He is always asking questions about the past and drawing how he imagines it, based on what he knows. Me, I am looking at a more immediate past. These are relics of personal healing. Hers are portraits of personal and historical trauma. He imagines people and I use memory. I want it to feel like memories have jumped into a time machine and come out in jumbles.

We are fractured in the world.

I don’t want to talk about diaspora anymore. I want to create spaces to think about it. Mobility is necessary and luxurious and peculiar given our past. We care about where things go. We don’t want these objects to be feeding those systems. This is a site of intimacy and vulnerability- that is in our portraits. His presence with vulnerability bridges. The contradictions should be visible.

I want the contradictions to be visible.

I don’t know whether her wisdom is perceptible through unrooted techniques. Her care is so deep it is incorruptible. She is present in those portraits, some people understand more than others. My portraits are precarious, maybe because they look like me. We are looking at ourselves in these cases. We haven’t been educated that way, maybe it limits our mobility but I still want to resist.

They dive inward.

Our interior is ancient and its poetry potent. This watersource is next to a potted plant nurtured by the spiritual woman and surrounded by barbed wire. Some think of silent indifference when they see the surrogates, but seems to me they might come alive at any moment. Maybe that is an antidote to how others might die at any moment. What is ‘imaginary?’ The imagination can map new materiality, dismantle exteriors and exceed construction. The formal can necessitate; transform, translate outward:

Tau Lewis / Curtis Santiago

/ Magdalyn Asimakis

~~~

‘Through the people we are looking at ourselves’
by Tau Lewis and Curtis Santiago
at Cooper Cole, Toronto, Canada
July 21 – August 26, 2017

COOPER COLE

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‘Tales of Order Vol. 2: The Wayward Chronicles’ by Arnold Trautwein at ISSMAG gallery http://www.ofluxo.net/tales-of-order-vol-2-the-wayward-chronicles-by-arnold-trautwein-at-issmag-gallery/ http://www.ofluxo.net/tales-of-order-vol-2-the-wayward-chronicles-by-arnold-trautwein-at-issmag-gallery/#respond Tue, 01 Aug 2017 10:47:27 +0000 http://www.ofluxo.net/?p=28449 The artist continues his formal searches, begun in the student exhibition “Tales of Order” (Rodchenko Art School, April 2017), which resulted from his studies at the video art department in the course under Dmitry Venkov and Kirill Preobrazhensky. In his graphic works, artist uses references to the aesthetics of comic books, manga, Asian calligraphy, and snickerhead culture, collector culture, the world of franchised fantasy movies. Drawings, collages, and sketches, often similar to storyboards for a film, are exhibited in various forms and variations: as brochures in stitched folders, textures on cardboard boxes collected by the artist, as well as inserts, — that amount to an original combination of drawing and sculpture.

The artist refers to aesthetics of the marketplace by using commercial plastic and cardboard packaging materials, including toys and furniture, to cover with it his drawings and sketches. The drawings of the artist with original subframessarcophagi take the form of “shelf sculptures and arrangements,” inheriting experiments with this medium from both the 1980s neogeo (first of all, Haim Steinbach) and contemporary commentators on commercial aesthetics and commodity overproduction (Josephine Meckseper, Camille Henrot, IDEM). The artist frees from a purely utilitarian role items from the domestic and pragmatic world of construction and repairments—shelves, mounts, and plastic wrapping film—through its re-exposure: in a game with materials, Trautwein partially scans “real” surfaces of wooden and plastic objects and includes them in textured photo prints for cardboard boxes.

The title of the exhibition, “Tales of Order Vol. 2: The Wayward Chronicles,” is based on a contradictory notion of cataloging and systematization of something fantastic and fictional. This is reflected throughout the practice of Trautwein in the various ways he overlays DIY aesthetics, infantile sketches derived from comics and cartoons, upon an orderly installation structure. In the first exhibition of the series “Tales of Order” the shelves were arranged in analogy with a typical library or a store stand. In ISSMAG, the artist plays with the exhibition space of the gallery, as well as the size and position of the shelves and cardboard boxes that are excessively elongated or exaggerated. This creates the effect of unexpected fantastic mutations of everyday objects. Interacting with the interior of the gallery, his sculptures recall natural environment, mimic various textures, transfer surfaces from the exhibition space to printed cardboard, adapt to the corners, stretch and adapt to the specifics of the walls, thus generating an ironic effect.

The mise-en-scene of the exhibition is organized as a showwindow demonstrating props for an epic fantasy film that has been filmed or not yet filmed, which unfortunately the viewer is deprived of the opportunity to watch. She or he can get the impression of it only by observing scraps of storyboards, script, sketches, and sculptures.

The rapidly growing popularity of the genre of unboxing, manifest in numerous videos of unpacking a new product, usually of consumer electronics or digital technology, has in recent years passed from the life of geeks with their interest in computer games, technical innovations, and fan tokens, into new segments: food and beverages, clothes and shoes, mobile devices and other gadgets. Perhaps, packing his drawings into boxes, Trautwein offers a new genre of unboxing: unpacking the dimensions of the infantile and fantastic, where maniacal pursuits and daydreaming are released.

On the second floor of the gallery, the video “NATT” (19 min, 2016, Berlin/Leipzig) will be shown. This is Trautwein’s first movie, which can be seen as a transition from painting and graphics to working on feature film. A short film revolving around a kafkaesque plot: a young woman has to learn three signs for her new office job. Neither the type of work everyone is doing nor any person’s names are specified. Gradually, the signs she learned start to disfunction, although everyone around her carries on as usual. Aside from telling this story, a certain fusion of media was of interest. Drawing served as a base for the script as well as an actual prop: the documents the protagonist is skimming through are pencil-onpaper works from the artist’s sketchbook.

Curated by Alexander Burenkov.

~~~

 

Tales of Order Vol. 2: The Wayward Chronicles
by Arnold Trautwein

at ISSMAG gallery, Moscow
Curated by Alexander Burenkov
July 12 – 25

ISSMAG

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Klub Fiesta, a Group Show at PLATO Ostrava http://www.ofluxo.net/klub-fiesta-a-group-show-at-plato-ostrava/ http://www.ofluxo.net/klub-fiesta-a-group-show-at-plato-ostrava/#respond Sun, 30 Jul 2017 15:46:34 +0000 http://www.ofluxo.net/?p=28411 «Nights are for dancing»

The exhibition deals with the phenomenon of club music as a driver of change in civilization. For over 50 years, since its inception, the music club has been an outreaching experimental space, with every generation constantly redefining the relationship between culture, the body and community.

From avant-garde, stage-based jazz and rock theatres, discothèque temples with crowds of dancers sabbathing below the DJ’s stage, through abandoned warehouses, factories and meadows transformed by nomads in autonomous zones with their own rules, laws and much dreamed-of but temporary autonomy, to mobile apps melting the materiality and geography of our lives and allowing us to step at any moment into the middle of any eclectic dance floor from anywhere in the world, the club has been a constant generator of new transformative energy dissolving into its surroundings. First socially, as a place generating new relationships, finding and developing identities and communities with ensuing emancipation requirements; and economically, in the form of profit, its regulation, the grey and black economy; also urbanistically in the form of gentrification, but ultimately also physically, as a concentration of human bodies, releasing noise, heat and fluids to the immediate surroundings.

This exhibition focuses specifically on the material aspect of club culture, from architecture with its specific requirements; the infrastructure supplying the necessary music equipment and providing for the feeding and excretion of visitors; through cultural artefacts, tribal fetishes, clothing, interventions in the proponents’ own bodies and environment; to the visual form of graphic communication, interior design and the physical human bodies – moving, sweating and touching one another.

The exhibition title refers to the existing Ostrava club of the same name, considered to be one epicentre of local alternative, non-materialistically oriented and excluded culture. At the same time, our use of the title refers to queer culture as the primary, if not the main, creative impulse of the «club» as a safe zone for free expression of one’s own identity and sexuality. Last but not least, we also see it as a manifestation of our desire for Fiesta to continue being such a place of freedom of expression.

The exhibition is not a museum show of authentic artefacts, but of contemporary art works. It involves artists who are active on the contemporary club scene, trying to redefine it or working with the overlaps of music and visual arts, as well as those whose work somehow refers to the subject or could serve as its apt illustration. The purpose is to open the «club» with all its associations and to generate a meaningful atmosphere allowing it to be grasped not just as a musical, political or generational, but primarily a social phenomenon.

-Michal Novotný

“Night with a knife in its back / Chem-love is in the air / Chem-love to share” (Lightning glove – Die Die)

In the right setting the sound becomes embedded in a mass intertwined with the space, vibrating with the most powerful sensory perceptions. Intensified emotions, or even an altered state of mind, can be induced by a massive bass drop, and can also be a reaction to sophisticated club architecture or a stimulus provided by a chemical substance. Rhythmic beats trigger a physical desire to create an ideal space without borders; a space with extremely intense sensuality, where vulnerability is an asset. A place where cunt and pussy are expressions of approval, not obscenities. A house in which one can become someone else at any time.

The primary goal of the feared circular mosh pit is to unite in an aggressive experience and then to harm one another with unbridled violence. Likewise, the modern post-club dancefloor provides an opportunity to tease the horizontal arrangement of the society with reigning “realness”. Genuineness is often enforced by extreme aesthetic means (such as throwing the voices of pop celebrities into a dark dungeon with industrial beats) or claims for the so-called youth culture, which must be, however, a state of mind caused by the desire for new stimulation, not a claim to performance and disciplining of bodies worn out by systemic pressures. The taste of true experiencing is always informed by the primary intention of resisting oppression and not submitting to instilled conventions.

Today’s music club can be a fortified playing field where one is armoured against external influences, and everyone can “let their own flag fly”. In today’s art, there is an increasing number of figures and communities using forms of post-club music in their activities, not only as an escape from reality but also as a tool of change and strength. They exploit its ability to exalt the crowd, its versatile communicativeness and absorbing urgency.

Klub Fiesta tries to grasp this situation, restructure it in the form of an exhibition, and also permit entry by those who might otherwise be afraid to step into places where the floor is covered with deposits of feverish illness and the air poisoned by crashing sonic matter.

-Lumír Nykl

Anna Solal, The Harp Kite, 2017, car carpet, metallic stem, bike chains, luxury ties; Charles Atlas, What I Did Last Summer, 1991, video; Yannick Val Gesto, Focus, 2017, digital print on PVC; Yannick Val Gesto, Angel, 2017, digital print on PVC

Simon Brossard & Julie Villard, It’s Fantastic, 2017, glass, plastic, metal, tap; Reaper Death Seal Corporation, BCAA, 2017, video; Sarah Tritz, Le Géant, 2016, aluminium, acrylic painting; Thomas Jeppe, Paris Studies (1), 2017, oil on canvas, artist frame; Anna Solal, The Harp Kite, 2017, car carpet, metallic stem, bike chains, luxury ties; Yannick Val Gesto, Focus, 2017, digital print on PVC; Charles Atlas, What I Did Last Summer, 1991, video

Sarah Tritz, Le Géant, 2016, aluminium, acrylic painting; Yannick Val Gesto, Focus, 2017, digital print on PVC; Anna Solal, The Harp Kite, 2017, car carpet, metallic stem, bike chains, luxury ties; Yannick Val Gesto, Angel, 2017, digital print on PVC; Thomas Jeppe, Paris Studies (1), 2017, oil on canvas, artist frame; Simon Brossard & Julie Villard, Now I Laugh When I Think About It, 2017, resin, paint; Simon Brossard & Julie Villard, It’s Fantastic, 2017, glass, plastic, metal, tap; Vít Soukup, Smrťák, 2006, oil on board; Vít Soukup, Travolta, 2006, oil on board

Yannick Val Gesto, Angel, 2017, digital print on PVC; Mark Delong &Anna Slama, Jailbreaker, 2017, fabric, wooden poles, acrylic; Simon Brossard & Julie Villard: Now I Laugh When I Think About It, 2017, resin, paint

Anna Solal, The Harp Kite, 2017, car carpet, metallic stem, bike chains, luxury ties

Simon Brossard & Julie Villard, It’s Fantastic, 2017, glass, plastic, metal, tap; Mark Delong & Anna Slama, Jailbreaker, 2017, fabric, wooden poles, acrylic; Simon Brossard & Julie Villard: Now I Laugh When I Think About It, 2017, resin, paint

Simon Brossard & Julie Villard, It’s Fantastic, 2017, glass, plastic, metal, tap; Vít Soukup, Smrťák, 2006, oil on board; Vít Soukup, Travolta, 2006, oil on board; Yannick Val Gesto, Focus, 2017, digital print on PVC; Yannick Val Gesto, Angel, 2017, digital print on PVC; Charles Atlas, What I Did Last Summer, 1991, video; Mark Delong & Anna Slama, Jailbreaker, 2017, fabric, wooden poles, acrylic

Simon Brossard & Julie Villard, It’s Fantastic, 2017, glass, plastic, metal, tap; Simon Brossard & Julie Villard, Now I Laugh When I Think About It, 2017, resin, paint; Vít Soukup, Smrťák, 2006, oil on board; Vít Soukup, Travolta, 2006, oil on board

Thomas Jeppe: Club support, 2017; Esmay Wagemans: Second Skin, 2017, latex; Esmay Wagemans: Transparent Skin, 2017, latex; NEW MAGIC MEDIA, SS 2017 (snippet), 2017, Video; Reaper Death Seal Corporation, BCAA, 2017, video; NEW MAGIC MEDIA Rules, 2017, video; core.pan, I Trade My Ecstasy on Crypto Currency, 2017, epoxy resin, outdoor light, gold chain; Bora Akinciturk: Time, 2017, sublimation print on fabric; Jakub Hošek & Nik Timková, Punk for Dummies, 2017, print on fabric; Paul Maheke, I Lost Track of the Swarm, 2016, HD video triptych

Paul Maheke, I Lost Track of the Swarm, 2016, HD video triptych; Jakub Hošek & Nik Timková, Punk for Dummies, 2017, print on fabric

Paul Maheke, I Lost Track of the Swarm, 2016, HD video triptych

Thomas Jeppe, Club support, 2017, Esmay Wagemans, Second Skin, 2017, Latex; Esmay Wagemans, Transparent Skin, 2017, latex; NEW MAGIC MEDIA, SS 2017 (snippet), 2017, Video; Reaper Death Seal Corporation, BCAA, 2017, video; NEW MAGIC MEDIA, Rules, 2017, video; core.pan, I Trade My Ecstasy on Crypto Currency, 2017, epoxy resin, outdoor light, gold chain; Jakub Hošek & Nik Timková, Punk for Dummies, 2017, print on fabric

Thomas Jeppe: Club support, 2017; Esmay Wagemans: Second Skin, 2017, Latex; Esmay Wagemans: Transparent Skin, 2017, latex; NEW MAGIC MEDIA, SS 2017 (snippet), 2017, video; Bora Akinciturk, Time, 2017, sublimation print on fabric

core.pan, I Trade My Ecstasy on Crypto Currency, 2017, epoxy resin, outdoor light, gold chain

Sarah Tritz, Le Géant, 2016, aluminium, acrylic painting; Simon Brossard & Julie Villard, It’s Fantastic, 2017, glass, plastic, metal, tap; Vít Soukup, Smrťák, 2006, oil on board; Vít Soukup, Travolta, 2006, oil on board

Simon Brossard & Julie Villard: It’s Fantastic, 2017, glass, plastic, metal, tap

Thomas Jeppe: Club support, 2017; Reaper Death Seal Corporation, BCAA, 2017, video; Jakub Hošek & Nik Timková, Punk for Dummies, 2017, print on fabric; Paul Maheke, I Lost Track of the Swarm, 2016, HD video triptych

Thomas Jeppe, Club support, 2017; core.pan, I Trade My Ecstasy on Crypto Currency, 2017, epoxy resin, outdoor light, gold chain

Jakub Hošek & Nik Timková, Punk for Dummies, 2017, print on fabric

Mark Delong & Anna Slama, Jailbreaker, 2017, fabric, wooden poles, acrylic; Simon Brossard & Julie Villard: Now I Laugh When I Think About It, 2017, resin, paint

Sarah Tritz, Le Géant, 2016, aluminium, acrylic painting; Anna Solal, The Harp Kite, 2017, car carpet, metallic stem, bike chains, luxury ties; Yannick Val Gesto, Angel, 2017; digital print on PVC; Simon Brossard & Julie Villard, It’s Fantastic, 2017, glass, plastic, metal, tap; Vít Soukup, Smrťák, 2006, oil on board


Thomas Jeppe, Paris Studies (1), 2017, oil on canvas, artist frame; Thomas Jeppe, Club support, 2017, Jakub Hošek & Nik Timková, Punk for Dummies, 2017, print on fabric; core.pan, I Trade My Ecstasy on Crypto Currency, 2017, epoxy resin, outdoor light, gold chain; NEW MAGIC MEDIA, SS17 (snippet), video

Paul Maheke, I Lost Track of the Swarm, 2016, HD video triptych

Rafał Czajka, klub Fiesta visual identity, 2017

Rafał Czajka, klub Fiesta visual identity, 2017

PLATO, Office for Art (streetview); Bora Akinciturk, Time, 2017, sublimation print on fabric

PLATO, Office for Art (streetview); SAMO©, 1977−1980, graffiti remake

PLATO, Office for Art (streetview); SAMO©, 1977−1980, graffiti remake

PLATO, Office for Art (streetview); SAMO©, 1977−1980, graffiti remake; Bora Akinciturk: Time, 2017, sublimation print on fabric

Mix by New Magic Media & Dzurillah

~~~

Klub Fiesta

w/ works by Charles Atlas, Bora Akinciturk, Simon Brossard & Julie Villard, core.pan, Rafał Czajka, Marek Delong & Anna Slama, dzurillah, FUTURA 2000, Yannick Val Gesto, GRAŃ, Jakub Hošek & Nik Timková, Thomas Jeppe, Paul Maheke, New Magic Media, Reaper Death Seal Corporation, SAMO©, Anna Solal, Vít Soukup, Sarah Tritz, Jan Vorisek, Esmay Wagemans

Curated by Michal Novotný and Lumír Nykl
PLATO Ostrava
, Ostrava, The Czech Republic

June 29 – September 3, 2017

Photography by all images copyright and courtesy of the artists and PLATO Ostrava

www.plato-ostrava.cz

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‘We’re already dead, we just don’t know it yet’ by Bora Akinciturk at ULTRASTUDIO, Pescara http://www.ofluxo.net/were-already-dead-we-just-dont-know-it-yet-by-bora-akinciturk-at-ultrastudio-pescara/ http://www.ofluxo.net/were-already-dead-we-just-dont-know-it-yet-by-bora-akinciturk-at-ultrastudio-pescara/#respond Thu, 27 Jul 2017 10:43:30 +0000 http://www.ofluxo.net/?p=28350 A 3d Keanu Reeves as Neo from The Matrix lies on a gurney, shirtless with electrodes attached to his chest and a transparent oxygen mask on his face. He’s in what looks like an emergency room. There are three nurses, two Asian women and a cartoon tiny winged donkey-man.
Neo hears a text to speech bot whispering “What if he took both pills?”
“He would lose all memory of what the Matrix is and who Morpheus and Trinity are and he would wake up in his pod, having no recollection of how he got there. He would then be rescued by people he did not recognise or had only seen in a dream. So – taking both pills would cause him to forget there even was a choice of pills to begin with.”
On the TV Ellen DeGeneres shows her audience this new invention from Japan, a vase like thing with both ends open. It’s something to shout into and it mumbles your scream.
“I wish I had that on election night” she says.
Crowd loves it, laughing ecstatically.
Later she’s dancing with a plush mannequin to a slowed down version of Justin Timberlake’s “Rock Your Body” song.
Crowd goes “Aww”
The moral of the story here is that pain becomes pleasure as pleasure becomes sadness. Or something like that. Time passes. And it’s just another system. Like Neo, if you take both pills you wake up from the Matrix unconscious. Awake without a purpose. A dog without a bone. Into this world you’re thrown.

Dprsn, 2017,  custom jacquard-woven wool blanket, 250 x 110 cm

Rage, 2017, custom jacquard-woven wool blanket, 250 x 110 cm

Lyef, 2017,  custom jacquard-woven wool blanket, 250 x 110 cm

Gods, 2017, laser engraving on 8mm transparent plexi, 21x21cm

Prophets, 2017, laser engraving on 8mm transparent plexi, 21x21cm

Secret council, 2017, laser engraving on 8mm transparent plexi, 21x21cm

You’re like a little baby, 2017, 3D engraved crystal, 9 x 4 x 4 cm.

Simplification, 2017, 3D engraved crystal, 9 x 4 x 4 cm.

Devotion, 2017, 3D engraved crystal, 9 x 4 x 4 cm

~~~

ULTRASTUDIO 2017 Guest Program “From Light to Dust”
Presents:
We’re already dead, we just don’t know it yet
by Bora Akinciturk
June 25 – August 20, 2017
© All images by Ivan Divanto,
courtesy of the artist and ULTRASTUDIO.

ULTRASTUDIO

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