Highlights of the New Season Shows in New York – 纽约新季演出精彩纷呈

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Highlights of the New Season Shows in New York - 纽约新季演出精彩纷呈

Karin Schneider, Sabotage, 2017, installation view CCA Wattis Institute, San Francisco. Courtesy: the artist

‘A new job to unwork at’
PARTICIPANT INC.
9 September – 14 October

Following a series of public programming at Artspace, New Haven, and LACE Project Space in Los Angeles, curators Andrew Kachel and Clara López Menéndez bring their interdisciplinary research platform, ‘A new job to unwork at’ to PARTICIPANT INC. The artists included here present works that question, disrupt and jam the ideological and normative operations of ‘work’ as a discursive, social and economic process. Here, the often rigid labours of aesthetic production are pitted against the labours of the everyday: from the practical – bathing, getting to work – to the emotional: in the performance of empathy or against the forces that drive us mad. Strewn around the gallery floor, Dylan Mira’s VOIDS (all 2015), cuts and voids four cartoonishly large blank checks. Crucially, these checks are also endorsed: ‘I DON’T BELIEVE IN FORM BUT I WOULD LIKE TO KNOW MY BODY BETTER,’ is scrawled across the back of one in the centre of the gallery. Elsewhere, among video pieces, instructional guides and (somewhat unbelievably) pill capsules filled with fescue plant matter from one of Donald Trump’s golf courses, Kandis Williams offers us an equally destabilizing iteration of unworking: two compendiums titled Reader – one made by Williams the other by the curators – filled with reprints of texts on art and capitalism from Karl Marx to Fred Moten, are accompanied by a sign which, given the literal weight of these texts, reads more like a desperate plea than it does a liberty: ‘FREE BOOKS’.

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Highlights of the New Season Shows in New York - 纽约新季演出精彩纷呈

EJ Hill, (left to right:) A Commemoration, 2018, neon; An Anchoring, 2018 archival inkjet print, 132 x 88 cm, installation view, ‘An Unwavering Tendency Toward the Center of a Blistering Sun’. Courtesy: Company Gallery, New York

EJ Hill, ‘An Unwavering Tendency Toward the Center of a Blistering Sun’
Company Gallery
16 September – 21 October

The toughened durational performances that have defined EJ Hill’s practice up till now – the ‘victory laps’ the artist ran this year around six of the seven LA schools he attended, or the winners’ podium on which Hill stood on six-days-a-week for three months at the Hammer Museum’s biennial, ‘Made in L.A. 2018’, or the roller-coaster below which Hill laid prostrate, face-down, in the summer of 2016 – are as emotionally affecting as the seasons that come to frame them. For his first show at Company, ‘An Unwavering Tendency Toward the Center of a Blistering Sun’, Hill continues his project of elevating queer or black body that’s omitted, neglected, or unseen by social institutions through sculpture, text, and photography. In the centre of the room is the aforementioned platform, Altar (for victors past, present, and future) (2018) – a three tiered plywood structure – and a document of Hill’s 2018 summer performance in LA. Surrounding Altar are a suite of large-scale photographs that locate the disenfranchised black body not only as image, but as an embodied presence within the natural and architectural spaces native to Hill’s West coast home: a self-portrait, An Anchoring (2018) depicts Hill floating just below the surface of a residential pool; another, A Divine Mother (after Charles Dickson) (2018) shows an Egyptian goddess cast in ebony that is literally tucked into the side of a Los Angeles building; this hovering, bejewelled goddess is neither empty ornament nor misplaced monument but is, in Hill’s eye, a crucial part of Los Angeles’s material landscape. The body depicted here becomes as diffuse as light and as concrete as a home.

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Highlights of the New Season Shows in New York - 纽约新季演出精彩纷呈

Emily Jacir, La Mia Mappa, 2013, colour photograph. Courtesy: Alexander and Bonin, New York

Emily Jacir, ‘La Mia Mappa’
Alexander and Bonin
7 September – 27 October

La Mia Mappa (2013), the photograph from which Emily Jacir’s current show at Alexander and Bonin takes its name, shows a close-up of a water fountain in Rome which reflects the buildings and sky around it; the erosion of the bottom of the fountain appearing like a map. This acts as a key for Jacir’s research-based practice – here, including sculpture, photography, and found objects – which has long been concerned with documenting and representing the currents that set off interstitial movement and migration. Jacir presents several works never seen before in the US, each of which engages the microhistories of highly specific locales – streets in Rome, a square in Linz, Austria, gazettes from Ireland, missives from Palestine – so as to construct a more expansive understanding of global crisscrossing and contingency. For example, in Notes for a Cannon (2016), Jacir draws connections between a clock tower that once stood at the Jaffa Gate in Jerusalem (before being destroyed by the British in 1922) and the loss of Ireland’s own time zone (Dublin Mean Time) by the British in 1916. Here and elsewhere, Jacir’s works take site-specificity as a point of departure so as to constellate the complexities and tensions that foreground a migratory, but staunchly lived-in experience.

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Highlights of the New Season Shows in New York - 纽约新季演出精彩纷呈

Danny Lyon, Undocumented workers, Albuquerque, New Mexico, 1972, vintage print. Courtesy: the artist and Gavin Brown’s enterprise, New York / Rome

Danny Lyon, ‘Wanderer’
Gavin Brown’s enterprise
12 September – 21 October

Danny Lyon’s first exhibition since his 2016 retrospective at the Whitney, ‘Wanderer’, brings together new and vintage prints, montages and films that centre around Lyon’s hometown on the Mexican-US border, Bernalillo. Here, Lyon’s photographs of the local labour force, citrus groves and his friends and neighbours from the 1960s to ’70s are coupled with three films that portray a particularly long and crushing history of undocumented labour, immigration, and family life in the American West. Lyon’s 1971 film, EL MOJADO – which translates to ‘The Wet One’, or a transliteration of the American slur ‘wetback’ – is a portrait of Eddie, a Mexican national fleeing immigration police whom Lyon brought back and forth from the United States every year in exchange for consenting to being filmed. In EL OTRO LADO (1978), Lyon and his wife Nancy travel to Maricopa County in Arizona – where Joe Arpaio recently failed to win a Senate seat – and meet the Garay family, who, for the film, re-enact their illegal crossing from their own farms through the Organ Pipe Cactus National Monument to pick citrus. In his latest film, Wanderer (2017), Lyon takes a digital camera back to his hometown to record many of the same subjects his photographs once so intimately captured. Here, Lyon’s Australian shepherd dog, Trip, wanders into and out of a massive auto graveyard and swims through the San Juan River, his friends and neighbours pay respect to Willie Jaramillo, a subject of Lyon 1983 film Willie, and Lyon continues his work documenting an arid but arresting American landscape. 

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Highlights of the New Season Shows in New York - 纽约新季演出精彩纷呈

Colter Jacobsen, memory w/o words (after Dorsky), 2018, graphite and watercolor on paper, 40 x 48 cm. Courtesy: Callicoon Fine Arts, New York, NY
 

Colter Jacobsen, ‘Essays’
Callicoon Fine Arts
7 September – 14 October

If I remember correctly, in learning how to write, I learned to draw from memory. Look at the letter A – memorize it’s shape; look down – now draw it. Look back up – memorize. Good, now look back down – repeat. In ‘Essays’, Bay Area artist Colter Jacobsen mines this requisite minimal gap that always exists between a source and its trail: between brief studies on reflection and the immediate reflexivity those studies come to teach us. Several works – drawings, photographs, watercolours, and found objects – repeat and reflect each other throughout Callicoon’s space, signalling the various ways that memory ties art-making to epistemology: produce the original and try (essai) to produce it again. Ghost Wood (female flying figure-Tieppolo) (2017) depicts a connect-the-dots scene in which Caspar the Ghost rides a broom. The dots that connect one of his facial features to the next are doubled, as if his figure is shifting in space as the artist attempts to draw it, and yet the numbers follow a single linear trajectory: they go from 1 to 30; with the broom fully drawn in – Jacobsen’s try at figuring the ghost completes itself as a double negative. Elsewhere, the artist’s attention turns back to language: in a series of watercolours, each titled NOW, tri-colour wheels are painted with wavy lines moving from the edge of the circle toward its centre. Here, drawing is conflated with writing; paying closer attention, the letters ‘N O W’ can be seen and read across each diametrical line.

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Highlights of the New Season Shows in New York - 纽约新季演出精彩纷呈

João Maria Gusmão and Pedro Paiva, Plato's cave model, 2018, patinated bronze, 38 x 81 x 34 cm. Courtesy: the artists and Andrew Kreps, New York

João Maria Gusmão and Pedro Paiva, ‘WHERE THE SORCERER DOESN’T DARE TO STICK HIS NOSE’ and ‘Another B&W Ghost Show’
Andrew Kreps
6 September – 20 October

At the very front of Portuguese artists and collaborators João Maria Gusmão and Pedro Paiva’s two-in-one exhibition, ‘WHERE THE SORCERER DOESN’T DARE TO STICK HIS NOSE’ and ‘Another B&W Ghost Show’ is, perhaps, the most familiar of all the objects presented: Plato’s cave model (2018), a sculptural miniature of the philosopher’s mystical allegory. It’s a good set up for what follows, as we become miniature shadow puppets in Gusmão and Paiva’s immersive and cave-like installation. Within this fabricated dome, several new short 16mm films play on opposing walls, each depicting domestic and biological objects at a de-accelerated framerate: a rope that coils up and then back down, a slow, precise haircut, a green shutter that flaps in front of the lens. Stepping outside the installation, you walk around its scaffolding – and it begins to resemble more of a zoetrope than a cave. Large scale photographs (‘Ghost Show’) depict a different sort of shadow play: a hammer shape-shifts into something soft, a large camera shutter becomes a window. Gusmão and Paiva disrupt both the nature of time and the mechanical natures of image production in this striking exhibition.

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Highlights of the New Season Shows in New York - 纽约新季演出精彩纷呈

Wolfgang Tillmans, afterparty, P19/20, 2018, inkjet print on paper, clips. Courtesy: © the artist, David Zwirner, New York, Galerie Buchholz, Berlin/Cologne and Maureen Paley, London

Wolfgang Tillmans, ‘How likely is it that only I am right in this matter?’
David Zwirner
13 September – 20 October

How does one have a new photography show in a world that moves terribly fast and is entirely over-photographed? Wolfgang Tillmans asks a similar question with his new, enveloping exhibition ‘How likely is it that only I am right in this matter?’ which brings together Tillmans’s photographs with a suite of three videos, Rebar (2018), and a sound installation, I want to make a film (2018). It’s in the sound-recording that, perhaps, Tillmans’s desire to make sense of an oversaturated world is heard most clearly: in a dimly lit, carpeted room, visitors can sit on chairs as they listen to a disembodied male voice spewing an unscripted monologue about plans for a film about smartphones. In the rest of the gallery spaces, this impulse is drawn on, and Tillmans’s close-up photographs of friends, fabrics, sand, ice, and the guts of cars sparsely adorn Zwirner’s walls. Among these images is a series of abstract photographs, ‘Silver’ (2014–ongoing), that seems to tie Tillmans’s interest in the erotics of domestic, architectural and gay spaces together. For these chromogenic prints, all hung at eye-level, Tillmans feeds paper through a darkroom processor until the process itself produces a rhythm: the developing liquid itself acts as the photograph’s forming agent. In a world like this one, we all, like Tillmans’s alchemical agents, need something to cling to.

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Highlights of the New Season Shows in New York - 纽约新季演出精彩纷呈

Charline von Heyl, Poetry Machine #1, 2018, acrylic, charcoal and oil on linen, 2.1 x 2 m. Courtesy: Petzel, New York

Charline von Heyl, ‘New Work’
Petzel
6 September – 20 October

The formal complexity, and the fun, of Charline von Heyl’s painting language can leave one at a standstill – it did for me. Driven equally by rules and the unruly, this new suite of large-scale paintings at Petzel – Von Heyl’s ninth show with the gallery – continues a painting tradition in which there is, in all cases, too much to see. In the aptly titled The Floodsubject (2018), long, densely painted raindrops cover a canvas marked with grays and green swaths of paint. These stark, black drops pull one down, as if into the painting, as if subject to its flood. In another, Dub (2018), Von Heyl depicts a faceless mask; or is it a rock? The densely painted inside is covered with layers of paint: grayscale blotches and vertical tracks of blue, pink and yellow. The strange object is haloed with charcoal triangles jutting outward, and the rock, like the viewer, responds: a small piece juts out of the form, and breaks the mould. 

For more current shows to see in New York, head over to On View.

Main image: Charline von Heyl, Poetry Machine #3 (detail), 2018, acrylic and oil on linen, 2. 1 x 1.9 m. Courtesy: Petzel, New York

Shiv Kotecha

Shiv Kotecha is the author of EXTRIGUE (Make Now, 2015). He writes poetry and criticism and lives in New York. 

Critics’ Guides /

New York
Shiv Kotecha
Critic's Guide
PARTICIPANT Inc.
Company Gallery
Alexander and Bonin
Gavin Brown’s enterprise
Callicoon Fine Arts
Andrew Kreps
David Zwirner
Petzel


Karin Schneider,破坏,2017,安装视图CCA WATIS研究所,旧金山。礼貌:艺术家“在PARTICIPANT INC.
.PARTICIPANT INC.
.9月9日至10月14日的新工作,在洛杉矶的艺术空间、纽黑文和LACE项目空间进行了一系列公共规划之后,策展人安德鲁·卡切尔和克拉拉·洛佩兹·梅南德斯带来了作为PARTICIPANT INC的跨学科研究平台,“一份新工作”。这里包括的艺术家呈现的作品是,作为一个话语、社会和经济过程,质疑、干扰和阻塞“工作”的思想和规范运作。在这里,审美生产常常是僵化的劳动与日常劳动相对立:从实用——洗澡、上班——到情感:在移情或驱使我们发疯的力量的表现。围绕画廊地板,Dylan Mira的空隙(所有2015),削减和空隙四卡通大空白支票。重要的是,这些支票也得到了认可:“我不相信形式,但我会喜欢了解我的身体更好,”是潦草在画廊中心的一个背面。在其他地方,在唐纳德·特朗普的高尔夫球场之一的视频片段、教学指南和(有些令人难以置信的)装满羊茅植物物质的药丸胶囊中,康迪斯·威廉姆斯为我们提供了同样不稳定的不工作循环:两本名为《读者》的汇编——一本由威廉姆斯制作。另一张是由策展人重新印制的关于艺术和资本主义的文章,从卡尔·马克思到弗雷德·莫顿,伴随着一个标志,鉴于这些文本的文字意义,读起来更像是一种绝望的恳求,而不是一种自由:“免费图书”。ejh_09.jpg Highlights of the New Season Shows in New York - 纽约新季演出精彩纷呈 EJ Hill(从左到右: )《2018年的纪念,霓虹灯》;《锚》,2018年的档案喷墨打印,132×88厘米,安装图,《朝向闪烁的太阳中心的坚定趋势》。礼仪:公司画廊,纽约EJ山,“朝向太阳中心的坚定不移的趋势”这位艺术家今年在洛杉矶的七所学校中跑了六所“胜利圈”,或者是希尔在汉默博物馆的两年一度的“洛杉矶2018年制造”的颁奖台上每周六天,连续三个月站在颁奖台上,或者是希尔俯卧、面朝下的过山车。在2016的夏天,他们的情绪受到季节的影响。希尔在公司的第一个节目《朝向太阳中心的坚定不移的倾向》中,继续通过雕塑、文字和摄影,提升被社会机构遗漏、忽视或忽视的怪异或黑色身体。房间的中心是前面提到的平台,Altar(用于过去、现在和未来的胜利者)(2018)——三层胶合板结构——和Hill 2018年在洛杉矶夏季演出的文档。围绕着Altar的是一系列大型照片,这些照片不仅将被剥夺权利的黑人尸体定位为图像,而且将其定位为希尔西海岸家园原生自然和建筑空间中的具体存在:一幅自画像,An An An Anchoring(2018)描绘了漂浮在山脚下的希尔。一个住宅池塘的表面;另一个,《神圣母亲》(继查尔斯·狄克森之后)(2018)展示了一个用乌木浇铸的埃及女神,它实际上被塞进了洛杉矶的一栋建筑的侧面;这个盘旋着、戴着珠宝的女神既不是空的装饰物,也不是错位的纪念碑,而是在希尔的e.叶,是洛杉矶物质景观的重要组成部分。这里所描绘的身体变得像光一样扩散,像一个家一样具体。1534 7947 66 223.JPG WPAP6023 602IMG艾米丽·贾西尔,La Mia Mappa,2013,彩色照片。礼貌:亚历山大和波宁,纽约,埃米莉·杰伊尔,‘La Mia Mappa’
Alexander和Bonin
9月7日至10月27日La Mia Mappa(2013),这张照片是埃米莉·杰伊尔目前在亚历山大和波宁的演出以她的名字命名的。罗马的喷泉,它反映了周围的建筑物和天空;喷泉底部的侵蚀看起来像一幅地图。这是Jacir以研究为基础的实践的关键——这里,包括雕塑、摄影和发现的物体——长期以来,它一直致力于记录和表示引发间质运动和迁移的电流。杰西尔展示了一些美国前所未见的作品,其中每一幅都涉及高度特定地方的微观历史——罗马的街道、奥地利林茨的广场、爱尔兰的公报、巴勒斯坦的来信——以构建对全球纵横交错的更加广泛的理解。和偶然性。例如,在《加农炮笔记》(2016)中,杰西尔把曾经在耶路撒冷的贾法门(1922年被英国人摧毁之前)矗立的钟楼和1916年英国人失去爱尔兰自己的时区(都柏林中时)联系起来。在这里和其他地方,Jacir的作品以地点的特异性为出发点,以便将复杂性和紧张性组合在一起,这些复杂性和紧张性为迁移的前景,但是坚定地生活在经验中。dl-651b.jpg Highlights of the New Season Shows in New York - 纽约新季演出精彩纷呈 Danny Lyon,无证工人,Albuquerque,新墨西哥州,1972年,古董印刷。礼貌:艺术家和加文·布朗的企业,纽约/罗马·丹尼·里昂,“流浪者”号603003br加文·布朗的企业号603003br 9月12日至10月21日,丹尼·里昂自2016年在惠特尼举办“流浪者”回顾会以来的首次展览。新的和传统的印刷品,蒙太奇和电影围绕着里昂的故乡在墨西哥伯纳利欧边境,美国。在这里,里昂从60年代到70年代的当地劳动力、柑橘园以及他的朋友和邻居的照片与三部电影相结合,描绘了美国西部无证劳工、移民和家庭生活特别漫长和残酷的历史。里昂1971年的电影《EL MOJADO》——译成《湿漉漉的人》,或者说是美国污蔑“湿漉漉的”的音译——是埃迪的肖像,埃迪是墨西哥国家逃亡移民警察,里昂每年从美国带来回以换取同意。正在拍摄。在EL OTRO LADO(1978),里昂和他的妻子南希前往亚利桑那州的马里科帕县——乔·阿帕约最近未能赢得参议院席位——并会见了加雷一家,加雷家族在电影中重新颁布了他们从自己的农场穿过器官管道仙人掌国家纪念碑到管道的非法越境。柑橘属植物。在他最新的电影《流浪者》(2017)中,里昂带了一台数码相机回他的家乡,记录了他曾经如此亲密地捕捉到的许多相同的主题。在这里,里昂的澳大利亚牧羊犬,特里普,徘徊进出巨大的汽车墓地,游过圣胡安河,他的朋友和邻居向威利·贾拉米洛致敬,威利·贾拉米洛是里昂1983年电影《威利》的主题,里昂继续他的工作,记录一个干旱但逮捕了美国人。cj013.jpg Highlights of the New Season Shows in New York - 纽约新季演出精彩纷呈 Colter Jac.n,记忆w/o单词(在多斯基之后),2018,纸上石墨和水彩,40x 48 cm。礼仪:纽约,卡利康美术,纽约,603003br Colter Jac.n,散文,603003br,卡利康美术,603003br,9月7日至10月14日。看字母A,记住它的形状,向下看,现在画出来。回顾一下——记忆。好,现在回顾一下-重复。在《散文》中,海湾地区艺术家科尔特·雅各布森挖掘了一个源头与其踪迹之间始终存在的必要最小的鸿沟:在对反思的简短研究和这些研究教给我们的直接反思之间。一些作品——绘画、照片、水彩画和发现的物体——在卡利孔整个空间里相互重复和反映,表明记忆将艺术制作与认识论联系起来的各种方式:产生原作,并尝试(散文集)再次产生它。幽灵伍德(女飞行人物TiePoPO)(2017)描绘了一个连接点场景,其中卡斯帕的幽灵骑扫帚。把他的一个脸部特征和另一个脸部特征联系起来的点加倍,就好像他的身材在空间中移动一样,艺术家试图画出来,但是数字遵循一条直线轨迹:从1到30;扫帚完全画进去——雅各布森试图画出鬼魂c。在其他地方,艺术家的注意力转向了语言:在一系列水彩画中,每幅画名为“现在”,三色轮子上都画有从圆的边缘向中心移动的波纹线。这里,绘画和书写混为一谈,仔细观察,在每个直径线上都能看到和读出‘N O W’字母。kreps.jpg Highlights of the New Season Shows in New York - 纽约新季演出精彩纷呈 Jo圣玛丽亚·古斯芒和佩德罗·派瓦,柏拉图的洞穴模型,2018年,斑纹青铜,38x 81 x 34 cm。礼貌:艺术家和安德鲁·克里普斯,纽约,圣玛丽亚·古斯芒和佩德罗·派瓦,‘魔术师不怕粘鼻子的地方’和‘另一个B&W幽灵秀’科学家和合作者若昂·玛利亚·古斯芒和佩德罗·派瓦两人合一的展览《魔鬼在哪里不怕粘鼻子》和《另一场B&W鬼魂秀》也许是所有展出的物品中最熟悉的一个:柏拉图的洞穴模型(2018),是t的雕塑缩影。他是哲学家神秘的寓言。这是一个很好的设置


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