London - Interviews

Kader Attia on Re-appropriating The Field of Emotion and Modernity’s Fantasy of Repair

4 hours ago

We interviewed the artist Kader Attia for the occasion of his first major survey in the United Kingdom, The Museum of Emotion at the Hayward Gallery in London. The international artist, who has been coined by the Hayward Gallery director Ralph Rugoff as “One of the most interesting and cogent artists practising today”, spoke to us about the Field of Emotion, La Colonie, the Gilet Jaunes, his notion of Repair and his experience at the 57th Venice Biennale. 

Lara Morrell: It seems to me that your art is a form of catharsis in the face of social and geopolitical frustrations, is this an apt observation and could you tell me more about the title of this exhibition the ‘Museum of Emotion’?

Kader Attia: Yes, that is true. It is very important to me to be aware today that we’ve been neglecting emotion, not only in art, actually it all started in politics and for this I take the French example which I know really well; at the beginning, in the 80s, in France the left gained power with François Mitterrand, after two decades of the right being in power and after 68’ and the Algerian War, it was a big victory for the left. But it you look back the 80s on the contrary brought about the rise of neoliberalism and the rise of a new right and even worse the fall of the left. How it happened in France is very interesting as it affected other countries, in France the left became snobbish, what we call ‘Gauche Socialiste’, they started to neglect what I call the roughness of life, in the cultural field they started to make the colours ,the smells, the noise and the museums and their exhibitions emotionally and intellectually dark and obscure, continuing a new form of conceptualism which was not political but much more to seduce the market, so that if you are to look at an artwork and you don’t care about its origin, whether it was made in Palestine or in Africa or even in your own country. So the 80s for me were the moment when the left has happened upon the field of emotion to look at reality, then what is interesting is that so far the 90s is the depoliticised decade, at this very moment slowly in France you start to see the way that Neoliberalism in France got into politics via its very own tool, the media.

LM: What would you say is most interesting example of this?

KA: Silvio Berlusconi. Berlusconi owned two channels in France, Le Cinq and another channel, they became very famous and like in Italy, they were totally populist, they both slowly but surely became so popular, the figure of a neoliberal promise, that people began to believe that this guy is right. The connection between neoliberalism and economy and politics became more obvious because of people like him. The link between Silvio Berlusconi and Trump is very direct because after this Silvio Berlusconi, who was very much using what I call the field of emotion in the sense he was provoking in France, like he did in Italy, the catharsis of the people, their desire to be healed, to be cured by condemning  and blaming the other; the French economy is bad because of the choices made and the orientation of the economy by the left and that this was total ‘nonsense’, Sarkozy re-used exactly the same word after Berlusconi. Much more interestingly by 1995 he had become very famous in France, having open-end his first channel in 1985, he started to build his political party Forza Italia, what is extremely important here (in terms of communication he is not an idiot Silvio Berlusconi) is that here is a clear illustration of the understanding of the power of the tool of media, television and newspapers to reach power and control. He was able to do this by the abandonment of his Field of Emotion by the left. And if you look at what has happened right after him in France and in all countries, the direction of the political agenda became politically parallel with the rhythm of the media and the news, 9/11 has created George Bush’s policies, Sarkozy too of course and Trump for me it the most obvious example, he has been hijacking the attention of the political and media landscape by creating scandal to gain attention, he plays with the ambivalence of emotion.

LM: Could you explain what you mean by the ambivalence of emotion? In your opinion do emotions have the potential power to heal or they solely create conflict? Can tell us some more about ‘The Field of Emotion’ ? (An installation in the exhibition, where the artist has juxtaposed images of politicians with singers know for their powerful, affective delivery)

KA: Why do I think that emotion is ambivalent? I think that if you look at a seminal context in history during the 21st Century the way that populism has brought to power fascists in the 30s, you clearly observe that finally only culture and artists can compete with politics on that ground. In the Field of Emotion on the wall of my installation I put people with very high voices, very charismatic singers, people like Maria Callas, people who really galvanised and magnetised crowds, juxtaposed with figures such as Goebbels, Hitler and Fidel Castro, all these political figures both male and some females such as the Fidel Castro’s sister Juanita Castro, totally Homophobic, responsible for a vast number of gays in jail who have died as a consequence and Mao’s wife Jiang Qing, responsible for the cultural revolution, a small detail to explain that the Field of Emotion is this state that most politicians, especially when they have a fascists and radical agenda, hijack the intellectual and art because it is a tool to control the crowd and you just need to watch Hitler’s of Goebbels speeches, they are so passionate that they convince the audience, Trump is like this, people like us of course are hermetic to this but not the crowd, and thats why in the United States that the biggest mistake of the left, if we can say there is a left there, is that they did not let Sanders win, they put Hilary Clinton instead, because Sanders was aware of the Field of Emotion but these snobbish democrats were convinced they were going to win over the pleb, they were so pretentious that in the continuity of the way the left in France and everywhere in Italy have neglected the field of emotion, everyone woke up with this nightmare. I think we are living a crucial moment of re-appropriation of the Field of Emotion, because I do trust especially in a country like this with Brexit in motion, is that the Field of Emotion today, with Salvini etc in power, is now in the hands of the far right.

LM: Could you tell me about your space La Colonie, the space you opened in 2016 in Paris which encourages cross cultural critical thinking and what is your view on the Gilet Jaunes movement?

KA: Yes, as this is also connected to the Field of Emotion, recently we had Toni Negri at La Colonie, he sent me a very long email after we did a gathering on the Gilet Jaunes movement, I asked Toni Negri if we could connect the Gilet Jaunes to the Forconi movement in Sicily which gave birth to The Five Star movement and he explained that what is happening in France with the Gilet Jaunes is more complex because we know that many movements in Europe have been at the origin of the new far right, so we need now to really take care of the risk of falling into the far right. Ètienne Balibar was at La Colonie with Toni Negri and I couldn’t agree with them more, even amongst the left and within the cultural institutions they are diabolising the Gilet Jaunes claiming these people are fascists, they just reproduce the speech of the neoliberal right and the media has diabolised them with one agenda; so that they really became a fascist movement and I think this is a crucial movement we have today because we do need to reinvent a way of on the one hand re-appropriating the field of emotion that is held not only by political figures but another kind of power which exists within each society today which is the mass media, the tabloids, the media which is linked to the neoliberal, that do not allow any diversions they just follow the narrative of liberalism and to deal with this we need either to create spaces, small niches or create art works which emotionally involve the audience such as what I am doing on the 23rd at La Colonie*  I’m inviting all artists who want to support the Gilet Jaunes, as well as curator and critiques and anyone else who wants to support them and say it publicly and now the movement is becoming bigger, I am in touch with my team and it is going to be big, what I am telling you is that there is an emergency today of being part of the realm in terms of re-appropriation of this Field of Emotion. I think this is very important. You’ve seen in Italy for yourself over the last 20 years this evolution towards Fascism.

*On the 23rd of February the artist is hosting at his space in Paris – La Colonie a day dedicated Gilet Jaunes activism, whether artists, intellectuals and critics will gather to exchange thoughts and ideas on how to relay the movement and engage in the Gilet jaunt movement see link to event here

LM: The vast installation ‘The Repair from Occident to Extra-Occidental Cultures Is rife with African Masks and paraphernalia recovered from the World War One, could you expand on your notion of Repair in relation to these seemingly contrary objects.

KA: My idea of repair came to me slowly in my research that observing back in time, ten years ago in very poor contexts and throughout history and inside the storage spaces of ethnographic museums, that very isolated societies which are not in touch with Western modernity and then became in touch with colonialism used to have practices of repair which have absolutely nothing to do with Western conceptions of repair, which means that when an object was broken they used to repair the object by keeping the injury visible, a broken calabash was stitched or stapled with staples keep the injury visible, not only in Africa, in Japan for instance a broken ceramic pot which has been fixed the injury of the object was painted in gold and this is called Kintsugi and its a very delicate art of taking care of the injury. At the rise of technological modernity the West started to get obsessed by the fact that to control the injury and to repair an object means to erase the injury, the object needs to look like it did at the beginning, this is the total fantasy of modernity, if you apply this very obvious, yet deep-rooted opposition you really start to realise and understand the different conception of injuries, whether from the western point of view or from a traditional non western one. Then it becomes clear that it is a crucial state, for instance I think for me the most significant moment of Western modernity’s shift and probably the beginning of the end is World War One because as it lasted 4 years, millions died, was the macabre theatre of so many inventions and in this very moment the injured bodies wounded bodies were very much the incarnation of the state of progress, what I find extremely interesting is the way they used to fix the injuries. At the beginning of World War One, in 1915 the  people who used to repair the injured faces and bodies during the war would do this in the middle of the battle field because the whole army was so overwhelmed by what was happening and were not expecting such butchery, the people were young women, young nurses, perhaps 16 years old. The is one very famous French lady who after the war became a very important plastic surgeon doctor, her name is Suzanne Noël, and she described searing the faces of the injured in the middle of the field with bombs exploding above her head and then what my research has shown me that in the very early repair looked so much like broken African mask objects which have been repaired the further into the war, into 1918 the repair became more ‘perfect’ in the sense that they developed prosthetics in resin for someone who is injured, they would dry the skill and fill it with resin and then take pictures to prove that science can repair the injury and you can see this in the slideshow* in the installation, the evolution of the way that the western world is obsessed by perfection and the non western when it comes to repair not only physical but is much more free to accept the ‘more or less’ also when it comes to psychology.

*In the slide show which forms part of the installation ‘The Repair from Occident to Extra-Occidental Cultures’ Attia pairs images of soldiers treated to early, rudimentary plastic surgery with African masks and objects bearing signs of physical repair, a series of juxtapositions challenging our conventional ideas about wholeness, injury beauty and otherness.

LM: On the topic of psychology could you tell me more about the installation Shifting Borders (three separate videos and a series of uncanny sculptural elements) and your focus on Mental Health Southeast Asia? 

KA: Yes this is about the relationship between South Korea and Vietnam, a work which deals with how the two countries have been dealing with their trauma psychology and using magic, and I think this is extremely important because I have been working a lot on the way that Psychopathology has been used in societies where traditional beliefs and traditional forms of magic and healing have always existed but in South East Asia I really found something extremely interesting for because, for instance, it was really difficult to find Shamans in South Korea, most of the people would say they don’t have these anymore, South Korea is society which has been faced with forced capitalism, it is so neoliberal, it is so tough, you are nothing if you are not brilliant, beautiful and competitive, its a scary society so the few people who are ‘normal’ like us are trying to fight against this and Vietnam on the other hand, a country which embraces communism has  on the contrary, even though communists were against superstition they have protected animism so much.* The work looks to different form of healing and the therapeutic role played by shamanistic practices in non-western societies.

*In one of the interviews to mental health professionals, academics and traditional healers, a Vietnamese spiritualist describes holding a ceremony for the spirit of an American solider who had possessed her brother-in-law.

LM: Lastly, you exhibited in Venice for the 57th Art Biennale, we are based there, how was your experience on our home turf?

KA: It was great, I made a sound piece ‘Narrative Vibrations’, slightly hidden away in the Arsenale, it was using the voice of female singers and their voices were transformed with a software we developed to move grains on plates and it was based on the discovery by a German composer (I live in Berlin I don’t know if I told you that) who’s name is Ernst Chladni (1756-1827), he discovered the equation that solids transmit sounds and some frequencies produce patterns that also exist in nature. I applied this to an invention I made with a couple of French engineers, we had ten plates in the space, I poured couscous on each place and then grains moved according to the voices of Arab singers from the postcolonial golden age, singers I grew up listening to through electromagnetic waves provoked by the songs. It produced some quite stunning abstract sounds and visually it was effective.

Lara Morrell

  • Installation view of Shifting Borders, Kader Attia_ The Museum of Emotion at Hayward Gallery. Copyright the artist, courtesy Hayward Gallery 2019. Photo_ Linda Nylind .jpg Installation view of Shifting Borders, Kader Attia_ The Museum of Emotion at Hayward Gallery. Copyright the artist, courtesy Hayward Gallery 2019. Photo_ Linda Nylind .jpg
  • Installation view of Kader Attia_ The Museum of Emotion at Hayward Gallery. Copyright the artist, courtesy Hayward Gallery 2019.jpeg Installation view of Kader Attia_ The Museum of Emotion at Hayward Gallery. Copyright the artist, courtesy Hayward Gallery 2019.jpeg
  • Installation view of The Repair from Occident to Extra-Occidental Cultures, Kader Attia_ The Museum of Emotion at Hayward Gallery. Copyright the artist, courtesy Hayward Gallery 2019. Photo_ Linda Nylind.jpg Installation view of The Repair from Occident to Extra-Occidental Cultures, Kader Attia_ The Museum of Emotion at Hayward Gallery. Copyright the artist, courtesy Hayward Gallery 2019. Photo_ Linda Nylind.jpg
  • Kadia Attia with Ralph Rugoff Kadia Attia with Ralph Rugoff
New York - News

My Art Guide New York App for iOS and Android

1 day ago

For the occasion of Art Week in New York and our partnership with the Armory Show, My Art Guides has developed a brand new App for Android devices, the twin of My Art Guide App for iOS.

My Art Guide New York has been developed thanks to an incredible editorial committee formed by Nicole Berry (Deputy Director of The Armory Show), Sean Kelly (Owner of Sean Kelly Gallery), and Dustin Yellin (Artist and Founder of Pioneer Works). The committee has been working to select the best and most interesting art spaces and exhibitions in town.

Explore the art scene in NYC with our free guide. Type “Armory Show Art Week” on App Store or Google Play, download the app and start planning your visit.

With My Art Guide New York you can create your agenda and choose the art spaces you want to visit, the exhibitions you want to see, the special events you want to attend and how you want to spend your leisure time.

Click here to download the iOS or Android app:
App Store
Google Play

My Art Guides Editorial Team

  • My Art Guide New York App for iOS 2019 My Art Guide New York App for iOS 2019
New York - Interviews

The All-embracing Nature of Nature: An Interview with Kiki Smith

3 days ago

For the occasion of her solo show at Palazzo Pitti, Florence and her upcoming exhibition at Pace Gallery, New York, we’ve interviewed artist Kiki Smith.

Lara Morrell: Could you tell us about the title ‘What I Saw on The Road’ for your exhibition at Palazzo Pitti in Florence?

Kiki Smith: I live on a road and I see everything on this road when I walk or drive down it and a lot of it simply inspired me to make things and the exhibition is primarily of the tapestries which were made since I moved to living on this road. So it’s just about that, about being at home in what would be technically down state New York but to a New York City person it would be upstate New York on the CAT scale. This exhibition is primarily Tapestries because the Uffici has a tremendous collection of Tapestries and I think that was the initial starting point. The Tapestries are made by Magnolia editions in Oakland California and woven on traditional Jacquard looms which are several of hundred years old. There are also some small sculptures.

LM: How should Feminism be understood?

KS: You know I think Feminism is not really my primary concern, my primary concern is being an artist but my other concern is certainly to be a human being and feminism is about part of the liberation of human feelings and I believe that we should honour living beings in all their formations, females, males, non specifics, mixed genders, any living being is worthy or our honour and respect, so Feminisim is part of that movement.

LM: Would you be correct to say that nature is your greatest source of inspiration? Where do you think your fascination with the body and bodily fluids derives from?

KS: Yes certainly nature is my source, as it is all there is, there is living nature and inert nature and our nature. Everything on this planet is natural, so yes it’s my source for sure! About the body and bodily fluid, I had a boyfriend and he gave me a book called Grey’s Anatomy which is a very famous anatomy book, he worked in a bookstore and bought me home this book one day and then I worked for five or six years just from that book.

LM: You use varied range of media, combining traditional techniques with more recent technology, is your use of material for different subject matter an intuitive decision or is it integral to the concept behind a piece?

KS: No, I just choose what fits and often I make the same pieces in many different materials, I often also make the same images over and over again.

LM: We are based in Venice, you have exhibited a number of times for the Venice Biennale. Do you think during your various times spent in Venice, the Serenissima has influenced your work in anyway?

KS: Well it certainly influenced all the work I did for Homespun Tales for Querini Stampalia, as it was all directly related to Querini Stampalia. But perhaps Venice has inspired me in life more than anything, because I believe the Venetians and generally all Italians take great pleasure in their lives, in a sensuous way and that is a lesson I think everyone can learn from.

LM: You live and work in New York, we are now putting our guide together for the occasion of the Armory Show, could you divulge a few insider tips of where to go and what to see off the beaten track?

KS: I like things like the Natural History Museum or if I may put in a little plug for myself (which I rarely do!) I made a very nice window for the Eldridge Street Synagogue (a stained glass window with stars against a fragmented landscape of blue) created by myself with architect Deborah Gans, that’s beautiful and that’s downtown. The MET is the best! There are many places, but I think generally people just like walking around, like Venice its a city to discover by walking around.

LM: Could you tell us a little something about your exhibition at Pace Gallery ‘Murmur’ at the beginning of March?

KS: It’s mostly sculptures I have been working on over the last few years, with prints, etchings and cyanotypes and contact photographic prints.

LM:Which artists did you look up to earlier on in your career?

KS: Frida Kahlo, Eva Hesse, Chagall… all different artists… Nancy Spero and her husband Leon Golub.

Lara Morrell

  • Kiki Smith, Courtesy of the artist Kiki Smith, Courtesy of the artist
  • Kiki Smith, Europa, 2000-2006, Courtesy of the artist and Pace Gallery Kiki Smith, Europa, 2000-2006, Courtesy of the artist and Pace Gallery
  • Kiki Smith, Harbor, 2015 Kiki Smith, Harbor, 2015
Dubai/Sharjah/Abu Dhabi - Interviews

When Tradition Meets Modernity: An Interview with Nujoom Alghanem

6 days ago

Claudia Malfitano: Your work as a poet and as a film director is deeply connected to your Emirati roots and womanhood is a recurring theme. Can you tell us a bit more about your practice and your creative process? Where does it all begin?

Nujoom Alghanem: My creative practice began when I was young. I read and drew a lot which eventually led me to writing. I started with the classical form and my Arabic teachers recognised that I had potential and encouraged me. Then I started experimenting with different poetic styles. In the late seventies and early eighties, I dabbled in Nabati (vernacular poetry in the Arabian Peninsula) because it was very popular, and when you’re young, you want to fit in and be accepted. I also tried the Arabic metric poetry style for the same reason. Of course, the literary tide of the Arab modern movement was recognised in our region and helped us get connect with what was going on in Egypt, Lebanon, Iraq, Syria and North Africa by then. The Eighties was an eye opening period for me, I found myself drawn to free verse form. I was mostly influenced by European, American and Latin American modern poets, artists, and philosophers. This changed my whole perspective about poetry and eventually influenced my personal choices. My poetry is interconnected with my work as a filmmaker and artist. I consider literary resources – poetry, novels or drama – really great sources of inspiration, but the most important one is people. People greatly inspire me: their world, stories, frustrations, confusion, sadness, happiness, pain, passion.

CM: You will represent the UAE at the upcoming Venice Art Biennale; what does this mean to you? What do you think of the Biennale’s theme: “May You Live in Interesting Times”?

NA: I am truly excited and honoured to be representing the UAE in collaboration with curators Sam Bardaouil and Till Fellrath, following my first participation in 2017. The National Pavilion UAE tells our story on a global stage to the international arts community, and carries our values of fostering understanding and promoting cultural dialogue. The theme of the Biennale underscores my practice within the context of a rapidly transforming society. The interesting passage of time is deeply embedded in my work as an artist where I am always trying to resolve the tension between the traditional and the modern. However, I consider myself quite drawn to the now and the city, and our contemporary world.

CM: You were born and raised in Dubai. What is your relationship with this city and its fast pace and ever-changing nature? How do you feel the local traditions are coping with this super-fast modernisation?

NA: As a child, I remember sitting on the rooftop of my grandparents’ house in Bur Dubai after school, watching huge ships sail slowly, silently down the Creek, which made me always think of traveling and exploring other lands. Today, Dubai is a very busy city. It has different faces and paces; fast and hectic during the day, dynamic and loud at night, beautiful but noisy, light sometimes, grimy other times, elusive but welcoming, playful yet tough, sophisticated but easy to know, strange yet friendly, hard even though it has a tender heart. It’s the city where I was born and where I learned how to love and wait for things to take shape so I would understand them better. The city has grown up along with me. Although I think I know it, it overwhelms me sometimes. I am grateful, however, to have grown up in Dubai, which is a fantastic city and my love for it underlies all my work.

CM: What is your perspective on the city’s art scene?

NA: The art scene in Dubai is diverse and thriving, and after many years of development, it has matured greatly and it would be interesting to see what the next years will bring; I think the milestones of the past few years, such as Louvre Abu Dhabi and Art Jameel have been a testament to that. Artists from across the region and the world are coming here to find inspiration, participate in dialogue and discover their creative voices. At the same time as these artists are exploring here today, I am pleased to see that there is an increasing recognition of the history and tradition of Emirati contemporary art, and of the ways in which our leading artistic figures, such as Hassan Sharif, have influenced and shaped UAE art today.

CM: My Art Guides likes to recommend to its readers unique places to visit in each destination, not necessarily connected to contemporary art. In your opinion, what are the absolutely unmissable places, landmarks and spots in Dubai? And could you recommend something that shouldn’t be missed during Art Week?

NA: Dubai as a whole is very seductive and captivating. With all the expansion and sophistication, I always go back to the beach, a spot in the Jumeirah area that keeps calling me and inspiring me. Another place is the Dubai Public Library, which is located in Khor Dubai – Dubai Creek’s shores on the Bur Deira’s side. It used to be the main cultural hub for many activities including lectures and poetry readings besides its basic function as a place for reading and borrowing books. I consider it one of the earliest literary and cultural initiatives in Dubai.

Claudia Malfitano

  • Nujoom Alghanem. Image courtesy National Pavilion UAE - La Biennale di Venezia Nujoom Alghanem. Image courtesy National Pavilion UAE - La Biennale di Venezia
London - News

Is This Tomorrow?

7 days ago

The Whitechapel Gallery has invited ten groups of artists and architects to explore the potential of collaboration and offer their visions of the future in the technological world of tomorrow. The exhibition touches on and responds to the various issues we are facing today including natural resources, migration, technology and spirituality.

Is This Tomorrow? is a response to Whitechapel Gallery’s landmark 1956 exhibition This Is Tomorrow , which featured 37 British architects, painters and sculptors – including Richard Hamilton, Eduardo Paolozzi and Alison and Peter Smithson – who worked together in small groups.

The exhibition features 6a architects, Adjaye Associates, APPARATA, Rachel Armstrong, Rana Begum, Tatiana Bilbao Estudio, Cao Fei, Mariana Castillo Deball, Cécile B. Evans, Simon Fujiwara, Andrés Jaque / Office for Political Innovation, Kapwani Kiwanga, David Kohn Architects, mono office, Farshid Moussavi Architecture, Hardeep Pandhal, Amalia Pica, Jacolby Satterwhite, Zineb Sedira and Marina Tabassum Architects.

Lara Morrell

  • Marina Tabassum, Bait Ur Rouf Mosque (detail) 2012. Photo Credit: Hasan Saifuddin Marina Tabassum, Bait Ur Rouf Mosque (detail) 2012. Photo Credit: Hasan Saifuddin
New York - News

My Art Guide New York 2019 Editorial Committee

1 week ago

My Art Guide New York 2019 is a digital issue dedicated to the Armory Show and the Art Week in New York, available online and on iOS and Android app.
This new edition has been developed thanks to an incredible editorial committee formed by Nicole Berry (Deputy Director of The Armory Show), Sean Kelly (Owner of Sean Kelly Gallery), and Dustin Yellin (Artist and Founder of Pioneer Works). The committee has been working to select the best and most interesting art spaces and exhibitions in town.

As Executive Director, Nicole Berry leads the development and strategic vision of The Armory Show, directly overseeing exhibitor relations and spearheading the fair’s VIP program. Nicole joined The Armory Show in September 2016 as Deputy Director, and was appointed to the role of Executive Director in November 2017. Previously, Nicole served as Deputy Director of Expo Chicago from 2011-2016, playing a prominent role in expanding the fair’s exhibitor list and collector base, both internationally and in the American Midwest. Raised in San Francisco, Nicole received a Bachelor’s Degree from Colgate University and a Master’s Degree in Art History from the University of California at Davis. She has been active in the international art world as an art historian, art writer, curator and art advisor for over a decade.

Born in England, Sean Kelly, founder of the gallery, started his career in the art world as an artist and subsequently as a museum curator at the Glynn Vivian Art Gallery, Swansea, Wales. Kelly went on to become the Director of Visual Arts for the Bath International Arts Festival, Bath, England and later founded and directed Artsite, a site-specific exhibition program in Bath, England, before relocating to New York. In 1991, Sean Kelly established his own business representing artists Marina Abramović, James Casebere, Callum Innes, Rebecca Horn, Joseph Kosuth and Julião Sarmento. In a career that has spanned over twenty-five years in New York, Sean Kelly Gallery has been internationally regarded for its diverse, intellectually driven program and highly regarded roster of artists. The gallery has garnered international attention for its high caliber exhibition program and collaboration with many of the most significant cultural institutions around the world.

Dustin Yellin (B. 1975, California) is an artist who lives in Brooklyn, New York, and is the founder and director of Pioneer Works, a multidisciplinary cultural center in Red Hook, Brooklyn that builds community through the arts and sciences to create an open and inspired word. Drawing on both modernism, and the sacral tradition of Hinterglas painting, Yellin primarily works through a unique form of 3-dimensional photomontage, in which paint, and images clipped from various print media are embed within laminated glass sheets to form grand pictographic allegories. These totemic and kaleidoscopic works often plumb the history and fate of human consciousness within the Anthropocene. His work has been acquired by the Brooklyn Museum, while it has been exhibited at Lincoln Center for the Performing Arts in New York City as well as the Museo Del Palacio de Bellas Artes in Mexico City, amongst many others. Yellin is often featured in diverse media ranging from the New York Times, to Artforum, Vanity Fair, and TED. He holds an Honorary Doctor of Humane Letters from the Savannah College of Art and Design.

My Art Guides Editorial Team

  • Nicole Berry © Justin Barbin Nicole Berry © Justin Barbin
  • Sean Kelly Sean Kelly
  • Dustin Yellin © Pavel Antonov Dustin Yellin © Pavel Antonov
Berlin - News

Gallery Weekend Berlin 2019: Galleries and Artists Announced

1 week ago

The 15th edition of the Gallery Weekend Berlin sees the participation of 45 galleries presenting either young emerging artists or more established positions.

A preview of the 45 participating galleries’ exhibitions will take place on Friday the 26th of April at 11 am, followed by the official opening at 6 pm. The galleries will also be open between 11 am and 7 pm on Saturday and Sunday.

The participating galleries and artists:

Galerie Guido W. Baudach | Björn Dahlem
Blain I Southern | Bernar Venet
Niels Borch Jensen | Matt Saunders
Isabella Bortolozzi Galerie | Veit Laurent Kurz
BQ | Raphaela Vogel
Galerie Buchholz | Michael Krebber
Buchmann Galerie | Nigel Cooke
Capitain Petzel | Stefanie Heinze
carlier I gebauer | Asta Gröting
Crone Berlin | Clemens Krauss
Contemporary Fine Arts | Tal R, Eberhard Havekost
ChertLüdde | Sol Calero, Juan Antonio Olivares
Dittrich & Schlechtriem | Julian Charriére
Galerie Eigen+Art | Martin Eder, !Mediengruppe Bitnik
Konrad Fischer Galerie | Richard Long
Galerie Friese | William N. Copley, Saul Steinberg
Galerie Michael Haas | Abraham David Christian
Kewenig | Imi Knoebel
Kicken Berlin | Robert Frank, Saul Leiter
Klemm´s | Elizabeth Jaeger
Klosterfelde Edition | Jorinde Voigt
König Galerie | Camille Henrot, Matthias Weischer, Jeppe Hein
KOW | Franz Erhard Walther, Clegg & Guttmann
Kraupa-Tuskany Zeidler | Pieter Schoolwerth
Tanya Leighton | Math Bass
alexander levy | Fabian Knecht
Daniel Marzona | Axel Hütte
Meyer Riegger | Daniel Knorr
Galerie Neu | Jana Euler
neugerriemschneider | Thomas Bayrle
Galerie Nordenhake | Rémy Zaugg
Peres Projects | Beth Letain
Galeria Plan B | Horia Damian
Gregor Podnar | Anne Neukamp
PSM | Daniel Lergon
Aurel Scheibler | Ernst Wilhelm Nay
Esther Schipper | Ryan Gander
Galerie Thomas Schulte | Jonathan Lasker, Alice Aycock
Société | Kaspar Müller
Sprüth Magers | Peter Fischli/David Weiss, Reinhard Mucha, Andrea Robbins/Max Becher
Galerie Barbara Thumm | Anne-Mie van Kerckhoven, Fiona Banner
Galerie Barbara Weiss | Frieda Toranzo Jaeger
Wentrup | Florian Meisenberg, David Renggli
Barbara Wien | Jong-Ik Kim
Kunsthandel Wolfgang Werner | Richard Oelze

Gallery Weekend Berlin
26 – 28 April 2019
 www.gallery-weekend-berlin.de

Carla Ingrasciotta

  • Gallery Weekend Berlin 2019 Gallery Weekend Berlin 2019
Basel - News

Art Basel in Basel Announces its 2019 Exhibitors List

1 week ago

This year, 290 leading international galleries present works ranging from the Modern period of the early 20th century to the most contemporary artists. While galleries from Europe continue to be strongly represented, the show also features returning and new exhibitors from across the globe, including Asia, Europe, North and South America, the Middle East and Africa.

Find out here the full list of participating galleries.

Art Basel
Messe Basel

June 13 to 16, 2019

Private Days (by invitation only)
Tuesday, June 11, 2019, 11am to 8pm
Wednesday, June 12, 2019, 11am to 8pm

Vernissage (by invitation only)
Wednesday, June 12, 2019, 4pm to 8pm

Public Days
Thursday, June 13, 2019, 11am to 7pm
Friday, June 14, 2019, 11am to 7pm
Saturday, June 15, 2019, 11am to 7pm
Sunday, June 16, 2019, 11am to 7pm

Carla Ingrasciotta

  • Courtesy of Art Basel Courtesy of Art Basel
USA - News

18 Artists are Taking Over Coachella Valley in California for the 2nd edition of Desert X

1 week ago

Desert X is a site-specific contemporary art exhibition in the Coachella Valley, running February 9 – April 21, 2019.

18 artists, selected by artistic director Neville Wakefield and co-curators Amanda Hunt and Matthew Schum, have settled down site-specific works and their names are Iván Argote, Steve Badgett and Chris Taylor, Nancy Baker Cahill, Cecilia Bengolea, Pia Camil, John Gerrard, Julian Hoeber, Jenny Holzer, Iman Issa, Mary Kelly, Armando Lerma, Eric N. Mack, Cinthia Marcelle, Postcommodity, Cara Romero, Sterling Ruby, Kathleen Ryan, Gary Simmons, Superflex.

In putting together the exhibition, the curatorial team invited the artists to respond to the specific history of this place.

Desert X 
February 9 – April 21, 2019

Coachella Valley, Ca
Admission free

Carla Ingrasciotta

  • Mary Kelly, Peace is the Only Shelter (2019). Photo courtesy of Susanne Vielmetter Los Angeles Projects. Mary Kelly, Peace is the Only Shelter (2019). Photo courtesy of Susanne Vielmetter Los Angeles Projects.
Marrakech - News

1-54 to Be Back in Marrakech for its Second Edition

1 week ago

The second edition of 1-54 Contemporary African Art Fair returns at La Mamounia, Marrakech between the 21 – 24 February 2019.

The fair features 18 international galleries and the work of over 65 established and emerging artists. It also features a wide programme of events in partnership with local institutions across the city, including Museum of African Contemporary Art Al Maaden (MACAAL), Musée Yves Saint Laurent Marrakech, Montresso* Art Foundation, Comptoir des Mines Galerie and Fondation Farid Belkahia among others.

This year 1-54 FORUM, the programme of talks and screenings, is curated by art historian and curator Karima Boudou.

Opening hours:
21, 22 Feb by invitation only
23 Feb 12:00 – 20:00
24 Feb12:00 – 18:00

Admission free

For more information visit
www.1-54.com/marrakech

Carla Ingrasciotta

  • Hicham Benohoud, Untitled, 2018, From the series Landscaping, C-Print, 60x90 cm. Courtesy Loft Art Gallery Hicham Benohoud, Untitled, 2018, From the series Landscaping, C-Print, 60x90 cm. Courtesy Loft Art Gallery