Stefan Sagmeister’s ‘The Happy Show’ is centered around the well known designer’s ten year exploration of happiness. Having gathered the social data of Harvard psychologists Daniel Gilbert and Steven Pinker, psychologist Jonathan Haidt, anthropologist Donald Symons, and several prominent historians, ‘The Happy Show’ also includes a personal narrative, underlinig Sagmeisters individual experience. Furthermore he has focused on social data detailing the role of age, gender, race, money, and other factors that determine happiness. According to him: ‘The Happy Show offers visitors the experience of walking into Stefan Sagmeister’s mind as he attempts to increase his happiness via mediation, cognitive therapy, and mood-altering pharmaceuticals.’
Turner Prize-winning artist Mark Leckey has curated an exhibition that explores the magical world of new technology, as well as tracing its connections to the beliefs of our distant past.
Historical and contemporary works of art, videos, machines, archaeological artefacts and iconic objects, like the giant inflatable cartoon figure of Felix the Cat – the first image ever transmitted on TV – inhabit an “enchanted landscape” created in Nottingham Contemporary’s galleries, where objects seem to be communicating with each other and with us.
In Leckey’s exhibition “magic is literally in the air.” It reflects on a world where technology can bring inanimate “things” to life. Where websites predict what we want, we can ask our mobile phones for directions and smart fridges suggest recipes, count calories and even switch on the oven. By digitising objects, it can also make them “disappear” from the material world, re-emerging in any place or era.
Text and Images Nottingham Contemporary
Light Show explores the experiential and phenomenal aspects of light by bringing together sculptures and installations that use light to sculpt and shape space in different ways. The exhibition showcases artworks created from the 1960s to the present day, including immersive environments, free-standing light sculptures and projections.
From atmospheric installations to intangible sculptures that you can move around and even through, visitors can experience light in all of its spatial and sensory forms. Individual artworks explore different aspects of light such as colour, duration, intensity and projection, as well as perceptual phenomena. They also use light to address architecture, science and film, and do so using a variety of lighting technologies.
Read Article: Light Show tricks meaning out of physics and biology.
Light Show runs at the Hayward Gallery, London, until 28 April.
“Do not sit on the art!” is something you don’t hear very often at contemporary art shows, making Ina Weber’s new solo exhibition Architectures, Memories, Utopias at Berlin’s Haus Am Waldsee an exception. The confusion of some attendees (at least three on Sunday afternoon) is understandable: Weber makes sly, playful sculptures that mimic the ordinary objects and mundane buildings of the modern city. Consequently the red bench, one of a cluster of objects that make up the show’s first work Fußgängerzone (“Pedestrian Zone”), could easily be mistaken for, well – a red bench. Upon a closer look the artifice becomes apparent, but the object-imitations hew close enough to the originals to provoke our normal reactions to such objects, confounding in their similarity.
Weber is adroit in small acts of deception (a skill she might have picked up from the Martin Kippenberger, who taught her at the Hochschule für bildende Künste in Kassel). In one room of the exhibition, 13 small sculptures of ceramic and concrete depict unassuming buildings in Berlin and beyond: a Chinese restaurant, a department store, a Mietskaserne, a post-war apartment block. Sitting in two rows directly on the floor, at the mercy of wandering toddlers, the diminutive models cut a sharp contrast to the oversized and ungainly sculptures on display elsewhere in the show. These distortions of scale and proportion in Weber’s work are disconcerting. Something is off here, but what exactly, is hard to say.
Continue text by Jesse Coburn HERE
Image above: The service isn’t great. Mix Café (2011). (Photo: Bernd Borchardt, Courtesy of Ina Weber)
It is like the message above Dante’s Gates of Hell. Abandon all hope, ye who enter here. Except that we are not entering hell, we are entering an exhibit at the Museum of Modern Art in New York City. The message at the Gates of MoMA is in the form of a question. It asks, “Must we not then renounce the object altogether, throw it to the winds and instead lay bare the purely abstract?” The writer of the message is neither God nor Satan. He was a human being, and from Russia. His name was Wassily Kandinsky.
The attempt to answer Kandinsky’s question led to a transformation in painting the implications of which are still being felt today. The transformation was Abstraction. Painters, just a few years prior to Kandinsky, happily portrayed human beings and animals and landscapes and historical events. After Kandinsky, pure forms and shapes and colors took over the canvas. This was a shocking and more or less unprecedented development. It took the art world by storm and carried the oft-bewildered public along with it.
Excerpt from an article written by Morgan Meis at The Smart Set. Continue HERE
Wellcome’s winter exhibition showcases some 300 works from a unique collection devoted to the iconography of death and our complex and contradictory attitudes towards it. Assembled by Richard Harris, a former antique print dealer based in Chicago, the collection is spectacularly diverse, including art works, historical artefacts, scientific specimens and ephemera from across the world. Rare prints by Rembrandt, Dürer and Goya will be displayed alongside anatomical drawings, war art and antique metamorphic postcards; human remains will be juxtaposed with Renaissance vanitas paintings and twentieth century installations celebrating Mexico’s Day of the Dead. From a group of ancient Incan skulls, to a spectacular chandelier made of 3000 plaster-cast bones by British artist Jodie Carey, this singular collection, by turns disturbing, macabre and moving, opens a window upon our enduring desire to make peace with death.
Death: A Self-portrait
15 November 2012 – 24 February 2013
Image above: Marcos Raya, Untitled (family portrait: group), 2005
For a brief moment the revolutionary ideas on art and living of Black Mountain College resonate in the spaces of W139. The work of more than 30 young conceptual artists meets in an experimental Wunderkammer and engages in a tactile dialogue creating a performative space.
THE RESEARCH AND DESTROY DEPARTMENT OF BLACK MOUNTAIN COLLEGE brings together a group of bricoleurs, conceptual artists whose work share the idea of collecting. The physical shape of the work is determined by the content of their own research. The gathering, or ensemble of different ideas in literary images tells a story, and stands close to the notion of anachronism. In the exhibition mostly three-dimensional works will be presented, forming a dynamic parcours, as a forest of metonymic sculptures and images. The displaying of this anti-digital show will create new conceptual reflections between the different works. With 30+ artists the exhibition spaces of W139 will take on the temporal form of a giant cabin of curiosities, a physical embodiment of knowledge. The unforeseen encounters will be spurring new insights and fuel an active dialogue on exchange, collaboration and collection. Together, the large group of artists will have to overcome the inhuman proportions of the W139 exhibition space and engage in a spatial relationship with each other’s work, In the rear space Thomas Raat will transform the pattern of the mosaic floor of the Radio Kootwijk building into an enormous mural, making the large back wall an impressive rhythmic backdrop of repetitive ornaments.
Texts by Anne van Oppen and Jean Bernard Koeman
Curated by Jean Bernard Koeman
More Info HERE