Un/Certain Place Pt.2

A selection of some exhibits and organizations happening outside the white cube for the online viewer.
(part 2/2)

Karon Nilzén Body and soul Wood, foam, textile, ink 205cm x 120cm x 120cm
Christian Aagaard Ovesen FEAR EATS THE SOUL Paper maché, coconut fat, acrylic paint, dirt, leaves, dead great tit 120cm x 90cm x 80cm
Emilie Palmelund Coyness of self Polystyrene, jesmonite, glass fiber, pigments, iron powder, 205cm x 260cm x 60cm
Jesper Christoffersen Uden titel (Star Breeder) Duct tape, pen, pearl, necklace, cotton, rubber, wood, screw, hinges, metal wire, glue, nail polish, paint 17cm x 17cm
Lasse Centio Everlast Inkjet on paper 29,7cm x 42cm

UTTRAN

In the northern hemisphere the face of the winter is conditioned by extremely cold temperatures and only sparse presence of light. UTTRAN was an exhibition which gathered 25 artists to exhibit on a frozen lake about 30 kilometres south of Stockholm.

 

When a lake freezes, the scenery changes and a formerly inaccessible part of the landscape hardens, transforming into a surface of public domain. The calm waves of the summer lake turn into a busy and highly frequented icescape. During the day ice skaters move their twirling and cruising bodies while the silence of the night let’s you hear the long resonating cries of the ice.

 

Organized by Tora Schultz Larsen, Maiken Buus Andersen, Christian Aagaard Ovesen, Emilie Palmelund

17th & 18th of February, 12.00-17.00
Uttran lake, Fiskaruddsvägen 73, Rönninge, Stockholm

 

 

Andreas Tang oh sigrid even I can’t tell why birds & cats aren’t chilling together, but don’t you know it’s gonna be all right all right as long as angels are weird like you & snow is squeaking Crayons, ballpoint pen, garlic, A4, screenshot, lacquer 21cm x 29,7cm
Alice Håkansson Iskall Textile, metal, plastic 330cm x 65cm
Tora Schultz Larsen After II 36°17’15.8”N 115°42’46.2”W Rebar, Glue, Sand, Pigment, Iron powder 150cm x 70cm
Iyas D-Toth Economics of little winds Heat-shrink, stretched canvas, eyelets, carabiners, wood branches. fringes, PVC screen, eyelets, rollercoaster, aluminum tubes. spotted polyester, broom branch, PVC sheet, elastic webbing. crashed car light, logs, spiraled elastics, food colouring. silk, fishfloats, archery arrows. Variable dimensions
Oliver Laric, Hundemensch (2018)
Anne de Vries, Technocracy (2018)
Giulia Cenci, field (2018)
Neïl Beloufa, Dominant (2018)
Raphaela Vogel, In festen Händen (2018)

Hybrids

Hybrids was presented in the park setting of Lustwarande, where the anticipated contrast between the ‘natural elements’ and the works of art could hardly be greater. In spite of hybrid production processes, with digital and analogue techniques being mixed in all kinds of combinations, and the use of dramatically contrasting materials and forms, in which industrial confronts organic, and craftsmanship is pitted against DIY, the public space of the park appears to force the consideration and interpretation of the works in the direction of classical sculpture.

 

These sculptures and installations are physical entities that blend beautifully with the context in which they were presented. At the same time, there is an emphasis on the relationship between these works and their surroundings: the Anthropocene world.

 

Curated by Chris Driessen & David Jablonowski
at Lustwarande, Tilburg, The Netherlands
23.06 – 23.09.18

 

 

https://www.fundamentfoundation.nl/

 

Oliver Laric, Hundemensch (2018)
Anne de Vries, Technocracy (2018)
Timur Si-Qin, New Peace Symmelith (sandstone to limestone transfer) 1 (2018)
Giulia Cenci, field (2018)
Matthieu Haberard
Elizabeth Jaeger
Fiona Valentine Thomann
Brian Kokoska
Hugo Avigo

Feÿ – Rencontres d’art

From October 5 to October 7, 2018, Feÿ– Rencontres d’arts transforms the historical Château du Feÿ into a new creative and experimental platform just 1 hour and 30 minutes away from Paris. A three-day artistic laboratory, this multidisciplinary festival gathers about a hundred artists and presents their works in a unique, otherworldly environment. Cinema, publishing, music, gastronomy, performance and visual arts encounter one another to create an ephemeral village in the hills of Burgundy.
 
Curated by Hugo Avigo, Paul Créange, Chloé Royer, Louis Verret
 
5 October – 4 November 2018

 

Chloe Royer
Hanae Wilke
Romain Lecornu
Valentin Dommanget
Some People Are Worth melting For, Alltwinau Farmhouse, Llanwrtyd Wells, Wales
Jakub Choma, Smirk and unexpected spasm, 2018, digital print on cardboard, clear gel medium, engraved plastic, cork dirt, rabbit netting, engraved fire match and screws (detail)
Bryony Rose, Small Hammers with Flowers, 2018, glazed stoneware and wood
Some People Are Worth Melting For, Installtion View
Joe W. Speier, bong study circa 4/20/2007, 2018, plastic, paper, aluminium foil, resin, mixed media (detail)
Chloé Elizabeth Maratta, EXES Rosary, 2018, chain, business card pen (2014), jewelry supply
Lucia Leuci, Anachronistic woman and Creole child, 2018, silk, acrylic paint, 53×38 cm

Some People Are Worth Melting For

Some People Are Worth Melting For is the second group presentation organized by Ginny Projects soon right after The Blunt – a travel friendly show, viewable by train, with the artists presenting their work at selected train stations across the UK. In Some People Are Worth Melting For, the artworks are installed inside and outside of an old Farmhouse – “We have all been awaiting the day when science could repair any damage to his body and bring Uncle Walt back to life. Just inside Britain’s Smallest Town, Llanwrtyd Wells, Ginny Projects is pleased to announce that day has come: Some People Are Worth Melting For

 

Organized by Ginny Pojects
21.04.18 – 04.05.18

 

http://ginnyprojects.com/

 

Adrian Fierro Lara, Some People Are Worth Melting For, 2018, pencil on paper
Alexandra Metcalf, Children are better seen not heard, 2018, resin, leather and metal
Te Akiri Alistar Taniwha, Struth be told (2), 2018, lenticular printed mirror
Alex Zuckerman, Sushibox, 2015, acrylic on canvas
Kinga Kielczynska: How I sleep knowing, 2018. Locally rented car, garden waste from the Botanical Garden and the streets of Palermo, dimension variable. Installation view at Mercato Ballarò, May the bridges I burn light the way, EXILE at Manifesta 12, Palermo, 2018
Albrecht Pischel: Hungry Ghosts, 2018. Various chinese paper effigies, dimensions variable. Installation view at Mercato Ballarò, May the bridges I burn light the way, EXILE at Manifesta 12, Palermo, 2018
Iris Touliatou: Cures for known fears, Cures for unknown fears, 2018. Herbal hydrodistillation extracts, ultrasound vaporizers, isothermal boxes, various offerings, dimensions variable. Installation view at Mercato Ballarò, May the bridges I burn light the way, EXILE at Manifesta 12, Palermo, 2018.
Club Fortuna: Voglio Solo: Passion, Mission, Profession, Vacation, 2018. Workshop and presentation of the Motu-Matatahi project at CreZi.Plus, May the bridges I burn light the way, EXILE at Manifesta 12, Palermo, 2018
Club Fortuna: Voglio Solo: Passion, Mission, Profession, Vacation, 2018. Workshop and presentation of the Motu-Matatahi project at CreZi.Plus, May the bridges I burn light the way, EXILE at Manifesta 12, Palermo, 2018
Federico del Vecchio: Fétichisme and lemon soda, 2018. Oranges, lemons, metal, cigarettes, dimensions variable. Installation view at Mercato Ballarò, May the bridges I burn light the way, EXILE at Manifesta 12, Palermo, 2018
Kinga Kielczynska: How I sleep knowing, 2018. Locally rented car, garden waste from the Botanical Garden and the streets of Palermo, dimension variable. Installation view at Mercato Ballarò, May the bridges I burn light the way, EXILE at Manifesta 12, Palermo, 2018

EXILE X Summer Camp: ‘May the bridges I burn light the way’

The initial part of May the bridges I burn light the way is a temporary exhibition that creates face-to-face conversations between social activism, art practices and Palermo’s socio-cultural realities. Departing point is the exploitation of the self for marketing purposes or as alibi for personal intentions, as sometimes in the #metoo debate or the current rise of populism.

 

May the bridges I burn light the way evolves through conversations, screenings and performative interventions at Cre.Zi Plus, a daily changing group exhibition at Ballaró Market, and the distribution of the street newspaper ‘Arts of the Working Class‘, a tool of integration between the citizens of Palermo and art professionals arriving to reflect on arts and society during the opening days of Manifesta 12.
 
Curated by María Inés Plaza Lazo, in collaboration with Alina Kolar, Dalia Maini and Christian Siekmeier.

 

Palermo
13.05 – 04.11.2018

 

http://m12.manifesta.org/

 

http://exilegallery.org/

Kinga Kielczynska: How I sleep knowing, 2018. Locally rented car, garden waste from the Botanical Garden and the streets of Palermo, dimension variable. Installation view at Mercato Ballarò, May the bridges I burn light the way, EXILE at Manifesta 12, Palermo, 2018
Humphrey Iduozee & Paul Sochacki: Untitled, 2018. Performance view at Mercato Ballarò, May the bridges I burn light the way, EXILE at Manifesta 12, Palermo, 2018
Federico del Vecchio: Fétichisme and lemon soda, 2018. Oranges, lemons, metal, cigarettes, dimensions variable. Installation view at Mercato Ballarò, May the bridges I burn light the way, EXILE at Manifesta 12, Palermo, 2018
Zoë Claire Miller: Ekaterina at Mercato Ballarò (Nude with Vegetables series), 2018. Felt pen on disposable placemat, 40 x 29,5 cm. Installation view at Mercado Ballarò, May the bridges I burn light the way, EXILE at Manifesta 12, Palermo, 2018
Diana Barbosa Gil, Solo-Rikke
Felix Schwentner, Angeblicher Sohn
Diana Barbosa Gil, Untitled Sperms
Philipp Zoehrer, Despise me
3Rade Petrasevic, Brasil is so far away pt.17
Thilo Jenssen, Untitled Blue Red

ANGEBLICHE VÄTER

Organized by Ganica Stauz, ANGEBLICHE VÄTER is a group show installed through the infrastructures of Vienna’s Franziska-Löw-Park gathering the work of Schirin Charlot, Daniel Ferstl, Diana Barbosa Gil, Luna Mae Heflin, Thilo Jenssen, Rade Petrasevic, Aline Sofie Rainer, Felix Schwentner, Ganica Stauz, Nino Stelzl, Philipp Zöhrer
 

 

Aline Sofie Rainer, Tortoise
Aline Sofie Rainer, Untitled
Nino Stelzl, Ich kann dir die Welt nicht zu F en legen. Sie geh rt mir nicht
Luna Mae Heflin, Untitled
Corinna Helenelund Extended Blue, 2018 textile and wadding
Hermanni Saarinen The Rest, 2018 eye shields, plastic wrap, a styrofoam head, foam rubber, ceramics, metal, textile, inflatable glider
LM Salling Day Job or Mickey With Broom, 2017 metal wire, tape, wax, wood glue, acrylic paint ca. 2cm x 2,5cm x 4cm
Man Yau KNIGHT, 2014 from the series CHECKMATE, a part of the collaborative project ‘Dislocation’ hand carved marble, ash wood 30 x 19 x 19 cm
Niina Tervo Amphibian, 2017 natural rubber, pigment, wheat flour

A Cave for Play

This time an indoor playground, or more precisely, Leikkiluola – a playground built in a bomb shelter under the Hakaniemi marked square in Helsinki. Leikkiluola, was the selected place by Sakari Tervo to held his group exhibition A Cave For Play during the summer of 2018 presenting works by Corinna Helenelund, Lukas Hoffmann, Milena Huhta, Johanna Härkönen, Arttu Merimaa, Hermanni Saarinen, Raimo Saarinen, LM Salling, Aki Turunen, Niina Tervo, Man Yau.
Aki Turunen The Spring Fantasy, the brimstone, 2014 oil on canvas 135cm x 120cm
Johanna Härkönen Trinity, 2018 coloured pencil on paper, pu fake fur, wood, clay, polyvinyl chloride 100×70 cm
Milena Huhta Whitehead Gag, 2018 work from the series “FetiShōjo” ink on paper
Milena Huhta Peach Sissy, 2018 work from the series “FetiShōjo” ink and watercolour on paper

Jiří Kovanda at Black Cube

Jiří Kovanda, an internationally recognized performance artist, is heading from Prague to Denver next month for his first American exhibition outside of New York City. But, what makes this exhibition even more unique is that Kovanda has no knowledge of where in Denver he’ll be creating his artwork—All the Birds of North America.

 

The site location was chosen by Michal Novotný, Curator and Director at Centre for Contemporary Art FUTURA. By exposing the artist to an entirely different climate than his home city of Prague, Novotný was interested to see how Kovanda responds to the site and city in real time…without any foreknowledge or preparation. “This project will be openly fanciful and imaginary, more sentimental than realistic,” said Novotný. “With this site-specific project we also tried to create the most picturesque American scene for Jiří to work with, something relatable to travel, freedom, and the open landscape—like those yellow turning leaves from the cover for All the Birds of North America atlas. Just as Jiří Kovanda did in his early performances, this exhibition relates to our inner freedom, the deep inner-self that cannot be controlled by anyone.”

 

Curated by Michal Novotný and Cortney Stell
September 14 – October 6, 2018

 

https://blackcube.art/

 

Ala Dehghan
Erin Jane Nelson
rancisco Cordero-Oceguera
Michael Assiff
Rhys Coren

Cerrajeria

Lock Up International always dwelt us with unpredicted presentations for its projects and Cerrajeria is no exception. Throughout the month of April of 2018, 12 keyrings were installed in several key cutting stands or stores across Mexico City showcasing works by Michael Assiff, Francisco Cordero-Oceguera, Rhys Coren, Ala Dehghan, Erin Jane Nelson, Alexandra Metcalf, Theo Michael, Athena Papadopoulos, Frederick Powell, Leonel Salguero, Fin Simonetti and Gunna Tchida.
 
Athena Papadopoulos
Gunna Tchida
Theo Michael
Theo Michael
Garrett Lockhart. Untitled, 2018 laserprint on cotton, jute, wood clips, 4” x 3”.
Erika Hickle. Untitled, 2018 photo transfer on canvas, aluminum, 2” x 4”
Connie Wilson. Biscuit Watch 2, 2018 watchface, Jamaican water cracker, embroidery floss, dimensions variable
Habitat View

After The Rain

After it rains, 100 snails emerge from hibernation in a particular bush on a vacant lot near a set of train tracks. They embrace the damp, finding sanctuary amongst the wet leaves. In After the rain, small works by Erika Hickle, Katharina Höeglinger, Aiden Holmans, Garrett Lockhart, Joe W. Speier, and Connie Wilson are carefully placed around this habitat — a possible art show for snails.

 

http://www.aftertherain.club/

Katharina Höeglinger. Siblings, 2018 acrylic on nutshell, dimensions variable
Aiden Holmans. Untitled, 2018 woodcarving, 2½” x 4”
Joe W. Speier. Is sugar the opposite of salt?, 2018 mixed media, dimensions variable
Maria Toumazou, Fair-face Elysée, 2018, exhibition view, Thkio Ppalies, Nicosia, Cyprus
Poster for previous iteration of the exhibition as a photography show. Top: Portrait of Marietta at the University of Cyprus’ new campus under-construction Faculty of Medicine. Right: Marietta walking towards the Learning Resource Center to-be. Bottom: At the meeting of the Theatre Artists Labour Union at the Pancyprian Federation of Labour (ΠΕΟ). Left: ‘Broken ceramics’ shelf at the studio, detail of ‘Candy (come)’. Cross collage based on Lawrence Weiner’s poster for New Order, co-designed with Orestis Lazouras. Digital print on plastic ‘canvas’, wood, 100 x 80 cm
Hand, made in collaboration with hack66# (particular members: Constantinos Tsangarides and Ehson Abdi) – a do-ocratic community, a makerspace to-be – lifting an aumonière bought in Le Mans (2001) during a travel scholarship about Queen Berengaria. Aumonières on her waist manifest her givings towards the chapter house of the Abbey of L’Épau. Photovoltaic panel powering arduino and servo motor, battery, aluminium, wire, melted smallest Zivania bottles, regulator, battery charger, dimensions variable
Ex snail farming greenhouses now for stray dogs. Plastic bags sheets, metal, chicken wire, metal buckets with water

Maria Toumazou at Thkio Ppalies

Maria Toumazou introduced a group of works across two sites: a photocopy room at the headquarters of a market research company in Latsia and a field previously used as a greenhouse for snail farming in Geri. As with her collective project space Neoterismoi Toumazou – which was initially run by her grandfather as a clothing and novelty shop, catering mostly to locals and UN soldiers, in old Nicosia from the 70s up until 2013 – both sites are associated to Maria’s family. The personal is fragmented and extended outward to embody social, political and economic temporalities across particular material and architectural developments.
 
Maria Toumazou, Fair-face Elysée, 2018, exhibition view, Thkio Ppalies, Nicosia, Cyprus
Maria Toumazou, Fair-face Elysée, 2018, exhibition view, Thkio Ppalies, Nicosia, Cyprus
Hand, made in collaboration with hack66# (particular members: Constantinos Tsangarides and Ehson Abdi) – a do-ocratic community, a makerspace to-be – lifting dog (labrador) tapestry bag bought online during studies in Glasgow (2013). Photovoltaic panel powering arduino and servo motor, battery, aluminium, wire, melted smallest Zivania bottles, regulator, battery charger, dimensions variable
PANE PROJECT
KONSTANET
DIE WALZ
FUTURE SUBURBAN CONTEMPORARY
FUTURE SUBURBAN CONTEMPORARY

SUV

The eponymous SUV, a symbol of the Zeitgeist forms the center of the exhibition: For three days, the SUV’s distributed through the Werkschauhalle space in Leipzigh, held seven European art organizations, where each one curated a different car: FUTURE SUBURBAN CONTEMPORARY, Copenhagen; PANE PROJECT, Milan;BIKINI SPACE, Basel; KONSTANET, Tallinn; GALERIE A.M. 180, Prague and DIE WALZ, Frankfurt. In the end, this project gathered almost 100 artists where the SUV have become a display forcontemporary art production.
 

Organized by Tine Günther, Marian Luft and Ronny Szillo in cooperation with BSMNT

13.07 – 15.07.18
Werkschauhalle Leipzig
 
BIKINI SPACE
GALERIE A.M. 180
DIE WALZ
Installation view
Paul Pascal Baby Stack” , 2017 Cast rapid set cement, wire, cigarette packs, glitter nail polish, tissue paper 49.53 × 22.86 × 22.86 cm
Deirdre Sargent Tigers in Toyland, 2018
Hayden Dunham HE: on believing :SK, 2018 metal.
Vitaly Bezpalov, Death Is Not Final (NN_14), 2018 insulating tape, lacquer, acrylic, mixed media

No Where – Now Here

Vitaly Bezpalov, Antoine Donzeaud, Hayden Dunham, Josh Evan, Paul Pascal, Deirdre Sargent and Emir Esh Šehanović were invited by ULTRASTUDIO to deepen the theme of CREEPY PASTA as a new frontier of experimental story poised between disturbing news and urban legend.

 

The work moves on two places shot in a motel room in Los Angeles and in the Las Vegas desert where the works insist on their ubiquity between a claustrophobic space that becomes a cage of thought and another dilated in which horizons and perspectives are lost.

 

 

http://www.ultrastudio.sexy/

Emir Sehanovic Jazafi, 2017 digital print on fabric, polyurethane foam
Emir Sehanovic Jazafi, 2017 digital print on fabric, polyurethane foam
Paul Pascal Baby Stack” , 2017 Cast rapid set cement, wire, cigarette packs, glitter nail polish, tissue paper 49.53 × 22.86 × 22.86 cm

Organizations

To nail down,  here’s a selection of some of O Fluxo’s favorite organizations that have been documenting stunning art shows for the internet audience over the past few years (and that weren’t featured in part1 of Un/Certain Place).

Tony Hope Untitled, 2017 acrylic on steel saw blade 10 in diameter
Collection Sites by Jesse Stecklow at Chicken Coop Contemporary
Tony Hope Untitled, 2017 snakeskin, silicone, LED lights dimensions variable

Chicken Coop Contemporary

Chicken Coop Contemporary is an exhibition space on the outskirts of Southeast Portland that shares a small barn with a chicken coop, they are separated by chicken wire. It is run by Srijon Chowdhury and Anna Margaret.
 
ASH 22: ‘ƒ / Ω’ by Jon Haddock and Tony Hope, ASHES/ASHES at Chicken Coop Contemporary
ASH 22: ‘ƒ / Ω’ by Jon Haddock and Tony Hope, ASHES/ASHES at Chicken Coop Contemporary
Collection Sites by Jesse Stecklow at Chicken Coop Contemporary
Collection Sites by Jesse Stecklow at Chicken Coop Contemporary
‘A Divine Image’ by André Fortes & Harry Gould Harvey IV at Chicken Coop
‘Gossamer’ by Lesley Jackson and Lee Pivnik at Hotel Art Pavilion
Michael Assiff Motion Sensor (Forest), 2017 motion sensor light, hardwood ash, acrylic, LED and incandescent bulbs 16 x 8 x 6 inch
Dennis Witkin Dustpan (Factory Floor), 2017 Epoxy clay, cal-tint, patina, dried lemon 14 x 18 x 4 inch
Sydney Shen [DATA EXPUNGED], 2018 aluminum, steel dimensions variable

Hotel Art Pavilion

Hotel Art was founded in 2012 as a means to generate exhibition documentation for online audiences. H.A. Pavilion is the second phase of the project, and is located in a free-standing gallery space in a residential Brooklyn yard. We are open by appointment only and welcome anyone to schedule a time to come by.
 
Michael Assiff & Dennis Witkin Welcome (Mat), 2017 linseed oil, epoxy clay, hardwood ash, burnt and carved plywood 24 x 16 x 1 inch
Edward Shenk Untitled , 2018 cruets, olive oil, vinegar, cork, vials, Bunny's blood, Edward’s cum
‘Genes’ by Ann Hirsch and Parker Ito at Holiday Forever
‘MISERERE Paraphrase’ by Ivana Bašić and Bradford Kessler at Holiday Forever
Rebecca R Peel & Dennis Witkin, Menschenretter Almanac, 2017-2018, exhibition view, Holiday Forever

Holiday Forever

Holiday Forever is an artist run space in Jackson Hole Wyoming. Founders invite an artists of their choice to spend some days in Wyoming and in turn, the artist invites another. They go there for two person exhibitions based out of their home gallery. Studio space on site and recreation and vacation opportunities in surrounding areas and national parks are available to these artists during their time in the cowboy state.
 
Parker Ito Holiday Forever (Detail) Bed, miscellaneous personal items, macbook pro, youtube playlist
‘MISERERE Paraphrase’ by Ivana Bašić and Bradford Kessler at Holiday Forever
Dennis Witkin, Bowl, 2017, Epoxy clay, plaster, polymer clay, cal tint, patina, charcoal, graphite, bean pods, dried lemon
Inferiority Complex 1883: Kon Kyrizakis
UNDERPASS: Natasha Havir Smith
Saursazobomb: Grace Anderson, Zac Segbdzi, Ida Ekblad, Hana Earles, Alex Vivian, Jens Einhorn, Lucas Quietzch, Calum Lockey and Aurelia Guo, Hamishi Farah, Anne Fellner, Parker Ito, Burkhard Beschow, Rafael Delacruz

Melbourne Offsite Index

Run by Melbourne’s Suicidal Oil Pigle gallery co-founders and artists Calum Lockey and Zac together with Hana Earle, Melbourne Offsite Index is a website dedicated to documenting offsite shows staged in environments ranging from parked cars to empty apartments, organised by themselves and a cohort of like-minded collaborators.
 
Inferiority Complex 1883: Calum Lockey
UNDERPASS: Grace Anderson
Cabin Fever Creature w/ Center For Style: David Douard, Erin Jane Nelson, Flannery Silva, Fran Sharp, Liam Osborne, Maggie Lee, Matt Hinkley, Matthew Linde, Brand Lai, Trevor Shimizu, Win Mcarthy, Zac Segbedzi
hanaswarts: working in a cold attic, its more like a collab, moussemagazine: Jessie Kiely Sanja Devic Jordan Mitchell Fletcher Virginia Overell Natasha Havir Smith
DeSe Escobar
Ben Schumacher
Jason Matthew Lee

Bed-Stuy Love Affair

As a way to let artists show their art work without the stress of adhering to the rules set by commercial galleries, New York artist Jared Madere formed Bed-Stuy Love Affair, a project that held exhibitions out of Madere’s living room or kitchen at his apartment in Bed-Stuy and posteriorly moved into a large truck that visited and parked various locations across the US.
 
Valerie Keane
Ben Schumacher
Ben Schumacher
A Place Before a Name, John Bohl (with anonymous) at Wild Flower
Mirage Asylum, Philip Hinge, Wild Flower
Stone Belly Dweller, Sophia Belkin at Wild Flower

Wild Flower

Founded and directed by Michael Bussell, Wild Flower situates art in Baltimore’s Leakin Park for dissemination online were the work exists in the space solely for its documentation.
 
Mirage Asylum, Philip Hinge, Wild Flower
A Place Before a Name, John Bohl (with anonymous) at Wild Flower
In brine Frieder Haller, Robin Stretz, INOX
Oeoo Miranda Keyes, Sophie Lee & Isabel Mallet, Esme Toler, INOX
Oeoo: Miranda Keyes, Sophie Lee & Isabel Mallet, Esme Toler, INOX
Oeoo Miranda Keyes, Sophie Lee & Isabel Mallet, Esme Toler, INOX

INOX

Founded by Benedikte Bjerre and Asta Lynge, INOX fridge gallery aroused our attention with their presentations consisting in only two joint exhibits so far: Oeoo with Miranda Keyes, Sophie Lee & Isabel Mallet, Esme Toler and In brine by Frieder Haller, Robin Stretz.
 
In brine Frieder Haller, Robin Stretz, INOX
In brine Frieder Haller, Robin Stretz, INOX
Oeoo: Miranda Keyes, Sophie Lee & Isabel Mallet, Esme Toler, INOX
‘Holy Holy Holy’ by Morgan Mandalay at Catbox Contemporary
KILLER DIORAMA Fred Escher at Catbox Contemporary
Herding Cats, Again, Catbox Contemporary, Exhibition view
"a boy and his terminator" Mike Schreiber at Catbox Contemporary

Catbox Contemporary

Run by Philip Hinge, Catbox Contemporary is a project that presents exhibitions installed in a cat box tree inside Hinge’s apartment in Ridgewood, New York
 
‘Holy Holy Holy’ by Morgan Mandalay at Catbox Contemporary
‘Holy Holy Holy’ by Morgan Mandalay at Catbox Contemporary
Emily Mae Smith Drawing for Smoking Gun 3.5”x2.5”, pencil on paper 2014-15
Anatomy of Oil, Gas, Installation Shot
Anatomy of Oil, Gas, Installation Shot
Olivia Mole, Dud Ankress, 2018 Photo by Flynn Casey
Olivia Mole, Dud Ankress, 2018 Photo by Flynn Casey

Gas

Gas is a mobile, autonomous, experimental and networked platform for contemporary art. Located in a truck gallery parked around Los Angeles and online, Gas collaborates closely with artists to create experiences that foster community and connection while imagining alternative forms of cultural and critical production.
 
Anatomy of Oil, Gas, Installation Shot
Anatomy of Oil, Gas, Installation Shot
Olivia Mole, Dud Ankress, 2018 Photo by Flynn Casey
Olivia Mole, Dud Ankress, 2018 Photo by Flynn Casey
Benny Van den Meulengracht-Vrancx, Eyes, 2018m Spray paint
Benny Van den Meulengracht-Vrancx, An act of, 2016, Acrylic on linnen, 50 x 35 cm
Tom Volkaert, Presentation stand for Ashtray, Study on Functionality, 2018, Glazed Ceramic, Silicone Glue, Varnish, 75X40X25 cm
Benny Van den Meulengracht-Vrancx, Free speech!, 2018, Spray paint

Diesel Project Space

Diesel is a temporary project space located in a ghost gas station around the city of Liège. It has been founded by curator Noéme Merca and artist Xavier Mary with the premise that the project will end by the time the fuel station gets destroyed.
 
The Last Rave, 2018, exhibition view, Diesel Project Space, Seraing, Belgium
Antoine Renard, BraveNewWorld study 2, 2016 Automobile cold air intake pipes (inner cast), wax and fabric. 152 x 52 x 38 cm
Antoine Renard, Chiroptophobia study 2 (Desmodus rotundus), 2016 Engraved steel panel, diamond grade retro reflective vinyl adhesive. 133 x 102 cm
Tom Volkaert, HITCHING POST #4, 2017, Ceramics, cement, polyester, pigment, sand, 164 x 60 x 90 cm

Selection by Nuno Patrício.
All material & Photography are courtesy of their respective authors.

 

 

O Fluxo, 2018