Slavs & Tatars: Mirrors for PrincesSlavs & Tatars: Mirrors for Princes

28 February 2015

Slavs & Tatars: Mirrors for Princes

Exhibition, NYU AD Art Gallery, New York University, Saadiyat Island, Abu Dhabi, 28 February - 30 May; book launch at Art Dubai, 19 March.

Art collective Slavs and Tatars looks to the medieval genre of advice literature for kings – known as mirrors for princes or fürstenspiegel – as an urgent precedent of critique as hospitality and predecessor to the current obsession with self-help literature. Mirrors for Princes: Both Sides of the Tongue follows a residency at NYU Abu Dhabi and considers governance as self-presentation, a negotiation of competing affinities, conflicting loyalties and dissonant identities.   

Irokez, 17 x 30 x 10, dichroic glass, tinned copper, 2014

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Wim WendersWim Wenders

28 February 2015

Wim Wenders

Exhibition, MoMA, New York, USA, 2-17 March.

MoMA’s retrospective of 20 feature films and numerous shorts captures the breadth of Wenders’s career, from his 16mm experimental works of the late 1960s—including Same Player Shoots Again (1968) and Silver City (1969)—to the New York premiere of his most recent film, The Salt of the Earth (2014). Wenders will introduce many of the screenings, and will also take part in an onstage conversation with his longtime collaborator Peter Handke. 

Nastassja Aglaia Kinski in Paris, Texas by Wim Wenders.

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NN-A NN-A NN-A: New Norwegian AbstractionNN-A NN-A NN-A: New Norwegian Abstraction

27 February 2015

NN-A NN-A NN-A: New Norwegian Abstraction

Exhibition, Astrup Fearnley Museet, Oslo, Norway, until 3 May

Modernism has always held a strong position in Norwegian art and culture. In recent years, young Norwegian artists have been returning to the mindset and expression of modernism. A particular emphasis is placed on abstract expressionism, minimalism, and concrete art, while also turning into a renewed interest in painting and sculpture. The exhibition focuses on the young generation of artists who are working with a new, abstract expression. They have clear connections with the modernistic inheritance, but at the same time are clearly anchored in their own time and its conceptual terms, techniques, and semantic references.

NN-A NN-A NN-A: Sick Skin, 2014, by Ivan Galuzin; two-component paint on linen canvas, 245 x 186 cm; photo: Vegard Kleven/UKS

Futur ArchaïqueFutur Archaïque

27 February 2015

Futur Archaïque

Exhibition, Grand-Hornu Images, Hornu, Belgium, until 19 April.

The exhibition emphasises the connection that currently exists between the immediate, shortterm or even distant future and the past, the archaic, illustrated here from the perspective of design. Highlighted is how designers create objects that reveal our roots. For all its progress, reason and rationalisation, over time modernity has abandoned the intrinsic value of objects. In some way, design has been emptied of its sense or even its senses. Nowadays, instead of taking a negative attitude towards our roots, brushing them aside or even denying them, we are forced to admit that creators – artists, architects, and designers – are referencing our roots to create innovative objects.

CaCO3 stoneware project, 2014, by Laura Lynn Jansen & Thomas Vailly, © Floor Knaapen

Tracing Confessions: Otobong NkangaTracing Confessions: Otobong Nkanga

26 February 2015

Tracing Confessions: Otobong Nkanga

Exhibition, Museum Folkwang, Essen, Germany, until 18 May

“A species of Land Art for the 21st century”, is how Dieter Roelstraete describes Otobong Nkanga’s blend of drawing, painting, photography, installation, and video; where ‘land’ – such as in the oil-rich Niger Delta of her native Nigeria – is synonymous with natural resources. Landscape, here, is always filtered through the body, storytelling, memory, and the treachery of objects and images. The exhibition relates to the museum’s collection. Other examples in which Nkanga has maximised constrained means are Diaspore (2014) at 14 Rooms in Basel last year, and Contained Measures of Shifting States (2012), her durational performance at Tate Modern’s Tanks in 2012.

Otobong Nkanga: Whose Crisis Is This?, 2013; courtesy of the Artist and Lumen Travo Gallery, Amsterdam

Cool & Collected: Recent AcquisitionsCool & Collected: Recent Acquisitions

26 February 2015

Cool & Collected: Recent Acquisitions

Exhibition, National Building Museum, Washington D.C., USA, until 25 May.

What do a designer dollhouse and a sheet-metal bending brake have in common? These and many other extraordinary objects in the National Building Museum's collection illustrate the varied ways we can learn from architecture and design. The physical pieces of the world we design and build – from the tools that help create it to the toys that help explain it – inspire new perspectives on the built environment and how to improve it. Cool & Collected features a wide range of recent additions, i..

Kaleidoscope Dollhouse, Dolls, and Furniture. Creators: Laurie Simmons and Peter Wheelwright. Manufactured by Bozart Toys. Gift of Linda Syverson Guild. Photo by Museum staff.

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2015 Triennial Surround Audience2015 Triennial Surround Audience

25 February 2015

2015 Triennial Surround Audience

Art Triennial, New Museum, New York, USA, 25 February – 24 May.

We are surrounded by a culture replete with impressions of life, whether visual, written, or construed through data. We move through streams of chatter, swipe past pictures of other people’s lives, and frame our own experiences while our digital trails are subtly captured, tracked, and stored. This is a culture in which the radical multimedia environments envisioned by pioneering artists like Nam June Paik and Stan VanDerBeek are being livedout every day, albeit with much more complexity and compromise. With these transformations in mind, Surround Audience explores how artists are currently depicting subjectivity, unpacking complex systems of power, and claiming sites of artistic agency.

Untitled, 2014, by Juliana Huxtable

Design IndabaDesign Indaba

25 February 2015

Design Indaba

Design event, CTICC, Cape Town, South Africa, 27 February – 1 March.

The annual Design Indaba Expo is driven by a passion for innovative work with a strong local flavour. It’s a premier showcase for highend African design, exhibiting the home-grown wares of all creative sectors under one roof, distributing Africa's creative spirit. In parallel is the Design Indaba Conference, one of the world's leading forums on creativity and design, featuring the best of global creativity on one stage. A sterling line-up of international speakers from all corners of the world graces the stage each year, presenting an up-to-the-minute survey on design and innovat..

MoWoza is a mobile phone-based service that helps migrant workers order goods for their family back home, rather than physically transport the goods themselves.

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The end of it all has already happened: Melgaard + MunchThe end of it all has already happened: Melgaard + Munch

24 February 2015

The end of it all has already happened: Melgaard + Munch

Exhibition, Munch Museum Oslo, Norway, until 12 April.

The end of it all has already happened includes audio by Diana Ross, Dolly Parton, the Carpenters, and others. Melgaard apparently said at a press conference that this is a counterbalancing of light and darkness that parallels the bright anguish of Munch’s The Scream (1893–1910). But for Melgaard, who avowedly wants to upend staid perceptions of the older Norwegian, music is just the start. Munch’s paintings hang on wallpaper featuring images of Melgaard’s juicy, chaotic, previous installati..

Untitled, 2009, by Bjarne Melgaard, © Bjarne Melgaard / BONO 2015

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Architecture in the Museum: A Fortieth AnniversaryArchitecture in the Museum: A Fortieth Anniversary

24 February 2015

Architecture in the Museum: A Fortieth Anniversary

Exhibition, Vault Nasjonalmuseet, Oslo, Norway, until 26 April.

Since 1975, the Museum of Architecture (now the National Museum – Architecture), has collected, documented, and promoted knowledge about Norwegian architecture. This exhibition describes the museum’s history and activities, while also providing an impression of the period’s architecture.

Koki Tanaka Artist of the Year 2015Koki Tanaka Artist of the Year 2015

23 February 2015

Koki Tanaka Artist of the Year 2015

Deutsche Bank KunstHalle, Berlin, Germany.

Deutsche Bank honours Koki Tanaka as Artist of the Year 2015. It has been said that Tanaka forces us to see everyday things with new eyes. He represents a new generation of artists who connect their aesthetic concerns to social issues. Koki Tanaka, born 1975 in Tochigi, Japan, lives and works in Los Angeles. He represented Japan at the 55th Venice Biennale in 2013. “Koki Tanaka is a savvy mobiliser of collective actions. He encourages sharing among participants to produce a common sense of cooperation and creativity. His work represents an inventive approach toward exploring the question of community building”, explains Hou Hanru, artistic director of the MAXXI in Rome.

Koki Tanaka

Tropisme FestivalTropisme Festival

23 February 2015

Tropisme Festival

Mixed media festival, illusion & macadam, Montpellier, France, 24 February - 15 March.

Concerts, installations, performances, projections, architectural & culinary creations, video games, clubbing, workshops, brainstorms ... And of course EXYZT, which will launch its very last project during the Tropisme Festival. The collectif of artists, architects, builders, designers and botanists got international attention in 2006 for their participation in the Venice Architecture Biennale. For Tropisme, EXYZT created a 'machine for living' which will host exhibitions, salon discussions, film clubs, bedrooms, children's disco, radio tray and&nb..

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The Image as Burden: Marlene DumasThe Image as Burden: Marlene Dumas

23 February 2015

The Image as Burden: Marlene Dumas

Exhibition, Tate Modern, London, UK, until 10 May.

While other painters of her generation lapse into lucrative stylism, Marlene Dumas remains gratifyingly exploratory. Tate Modern’s Dumas retrospective, The Image as Burden is named after a 1993 painting whose starting point was a photograph of actor Robert Taylor carrying Greta Garbo: between the male figure’s nudity and the woman’s blue face, this small canvas conveys a spectrum of associations ranging from classical pietà compositions to suggestions of sexual violence. This work nestles amid a hundred or so others, including early collages, rarely shown drawings, and new paintings.

Marlene Dumas: Helena’s Dream, 2008, © Marlene Dumas; photo: Peter Cox.

Making Music ModernMaking Music Modern

23 February 2015

Making Music Modern

Exhibition, MoMA, New York, USA, until 1 November.

Music and design are art forms that share rhythm, tonality, harmony, interaction, and improvisation, which have always had a close affinity. Avant-garde designers have pushed the boundaries of their design work in tandem with the music of their time. Exhibited are designs for auditoriums, instruments, and equipment for listening to music, along with posters, record sleeves, sheet music, and animation, examining alternative music cultures of the early 20th century, the rise of radio during the interwar period, how design shaped the ‘cool’ aesthetic of mid-century jazz and hi-fidelity culture, and its role in countercultural music scenes from pop to punk, and later 20th-century design explorations at the intersection of art, technology, and perception.

Making Music Modern: Stravinsky, The Firebird and Petrushka, 1986, by Boris Bućan; poster for a performance; silkscreen, MoMA, New York

This Is for Everyone: Design Experiments for the Common GoodThis Is for Everyone: Design Experiments for the Common Good

22 February 2015

This Is for Everyone: Design Experiments for the Common Good

Exhibition, MoMA New York, USA, until 31 January 2016.

This exhibition takes its title from the Twitter message that British computer scientist Tim Berners-Lee used to light-up the stadium at the 2012 London Olympics opening ceremonies. His buoyant tweet emphasised the way the Internet has created limitless possibilities for the discovery, sharing, and expansion of knowledge and information. Is design in the digital age truly for everyone? From initial exploratory experiments to complex and often contested hybrid digital-analogue states, all the way to ‘universal’ designs, This Is for Everyone explores the question with works from the museum collection that celebrate the promise – and occasional flipside – of contemporary design.

Neri Oxman, The Museum of Modern Art, New York. Committee on Architecture and Design Funds.

Islamic Art Now: Contemporary Art of the Middle EastIslamic Art Now: Contemporary Art of the Middle East

22 February 2015

Islamic Art Now: Contemporary Art of the Middle East

Ahmanson Building, LACMA, Los Angeles, USA, ongoing.

In recent years, the parameters of Islamic art have expanded to include contemporary works by artists from or with roots in the Middle East. Drawing inspiration from their own cultural traditions, these artists use techniques and incorporate imagery and ideas from earlier periods. LACMA has only recently begun to acquire such work within the context of its holdings of Islamic art, understanding that the ultimate success and relevance of this collection lies in building creative links between the past, present, and future. This marks the first major installation of the collection. As the first of a two-part programme, some 25 works by artists from Iran and the Arab world are featured.

Woman Behind Mashrabiya I, 1997, by Susan Hefuna; artist's proof from an edition of 5+1; Los Angeles County Museum of Art, © Susan Hefuna, photo © 2014 Museum Associates/LACMA

Andrea Branzi & Michele De Lucchi present: The Aesthetics of MiseryAndrea Branzi & Michele De Lucchi present: The Aesthetics of Misery

21 February 2015

Andrea Branzi & Michele De Lucchi present: The Aesthetics of Misery

Exhibition, Palazzo Litta during Salone del Mobile 2015, Milan, Italy, 14-19 April.

DAMnº invites Michele De Lucchi and Andrea Branzi to present the result of their workshop about the ‘Aesthetics of Misery’ realized by the students of the Faculty of Architecture of the Politecnico, under the supervision of Francesca Balena Arista and Marco De Santi. This takes place in the magnificent Palazzo Litta, which will be DAMnº's hangout during the Salone del Mobile. The students' experimental works investigate 'lack of wealth' as a cultural and historical category, and focus on contemporary favela..

The Aesthetics of Misery - Opulence.

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Doris SalcedoDoris Salcedo

21 February 2015

Doris Salcedo

Exhibition, Museum of Contemporary Art, Chicago, USA, 21 February – 24 May.

Salcedo – who lives and works in Bogotá – gained prominence in the 1990s for her fusion of post-minimalist forms with socio-political concerns. The exhibition features all major bodies of work from her 30-year career. Salcedo’s work is deeply rooted in her country’s social and political landscape, including its long history of civil conflicts, yet her sculptures and installations subtly address these fraught circumstances with an elegance and poetic sensibility that balances the gravitas of her subjects. The pieces engage with multiple dualities at once &ndash..

Doris Salcedo, Disremembered I, 2014. Courtesy of Alexander and Bonin, New York
Reproduced courtesy of the artist; Alexander and Bonin, New York; and White Cube.

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VISIONARY STRUCTURES: From Johansons to JohansonsVISIONARY STRUCTURES: From Johansons to Johansons

20 February 2015

VISIONARY STRUCTURES: From Johansons to Johansons

Exhibition, Bozar, Brussels, Belgium, until 31 May.

BOZAR turns the spotlight on Latvia, to mark the country's presidency of the Council of the European Union. Nestled between Lithuania and Estonia, Latvia remains a bit of a mystery for many people... The exhibition provides an insight into the Latvian avant-garde and the innovative art of the turbulent 20th and 21st century. Despite the changing ideological background, parallels and a certain coherence are to be found between the legendary constructivism of Gustavs Klucis and Kârlis Johansons right down to the young artist Voldemãrs Johansons. This is surprising work, situated on the cusp between art, design, architecture, urban planning, and artistic research.

Arkiteturarbok 2011, © Nasjonalmuseet.


20 February 2015


Exhibition, Serralves Museum, Porto, Portugal, 20 February - 31 May.

Born in 1972 in Poland and based in Warsaw, Sosnowska has consistently looked to the language of architecture as an expressive form. Since her first major public showing in the 50th Venice Biennial in 2003 curated by Francesco Bonami, Sosnowska has continued to challenge the possibilities of sculpture as something inherently made rather than produced.   ‘Architectonisation’ has been conceived in dialogue with the architecture of the Serralves Museum designed by Álvaro Siza. The exhibition reveals in breathtaking form, the elaboration of an artist who thinks sculpture.  Among the works included are early corridor and pavilion structures that create alternative spatial routes that rely on the viewer’s movement through them, free-standing sculptures and sculptural interventions that allude to collapse and the fragment, and large-scale wrought iron works composed of structural elements for buildings on a scale of one to one, that are melded into suspended, draped and shifting forms in space to monumental effect. Smaller-scaled spatial propositions, both abstract and functional, reveal Sosnowska’s attention to the details of materials and f..

Emeco works magic with waste

Emeco works magic with waste

read all about it in DAMnº48