BEGIN:VCALENDAR
VERSION:2.0
PRODID:-//Art in America Guide - ECPv6.7.0//NONSGML v1.0//EN
CALSCALE:GREGORIAN
METHOD:PUBLISH
X-ORIGINAL-URL:https://artinamericaguide.com
X-WR-CALDESC:Events for Art in America Guide
REFRESH-INTERVAL;VALUE=DURATION:PT1H
X-Robots-Tag:noindex
X-PUBLISHED-TTL:PT1H
BEGIN:VTIMEZONE
TZID:America/Halifax
BEGIN:DAYLIGHT
TZOFFSETFROM:-0400
TZOFFSETTO:-0300
TZNAME:ADT
DTSTART:20200308T060000
END:DAYLIGHT
BEGIN:STANDARD
TZOFFSETFROM:-0300
TZOFFSETTO:-0400
TZNAME:AST
DTSTART:20201101T050000
END:STANDARD
BEGIN:DAYLIGHT
TZOFFSETFROM:-0400
TZOFFSETTO:-0300
TZNAME:ADT
DTSTART:20210314T060000
END:DAYLIGHT
BEGIN:STANDARD
TZOFFSETFROM:-0300
TZOFFSETTO:-0400
TZNAME:AST
DTSTART:20211107T050000
END:STANDARD
BEGIN:DAYLIGHT
TZOFFSETFROM:-0400
TZOFFSETTO:-0300
TZNAME:ADT
DTSTART:20220313T060000
END:DAYLIGHT
BEGIN:STANDARD
TZOFFSETFROM:-0300
TZOFFSETTO:-0400
TZNAME:AST
DTSTART:20221106T050000
END:STANDARD
TZID:America/Los_Angeles
BEGIN:DAYLIGHT
TZOFFSETFROM:-0800
TZOFFSETTO:-0700
TZNAME:PDT
DTSTART:20200308T100000
END:DAYLIGHT
BEGIN:STANDARD
TZOFFSETFROM:-0700
TZOFFSETTO:-0800
TZNAME:PST
DTSTART:20201101T090000
END:STANDARD
BEGIN:DAYLIGHT
TZOFFSETFROM:-0800
TZOFFSETTO:-0700
TZNAME:PDT
DTSTART:20210314T100000
END:DAYLIGHT
BEGIN:STANDARD
TZOFFSETFROM:-0700
TZOFFSETTO:-0800
TZNAME:PST
DTSTART:20211107T090000
END:STANDARD
END:VTIMEZONE
BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20220310T173000
DTEND;TZID=America/Halifax:20220310T190000
DTSTAMP:20260613T112307
CREATED:20220308T180858Z
LAST-MODIFIED:20220308T180946Z
UID:92864-1646933400-1646938800@artinamericaguide.com
SUMMARY:Catherine Opie: Artist Talk & Lecture
DESCRIPTION:On the occasion of her exhibition at The Current in Stowe\, VT\, join Catherine Opie for a virtual artist lecture on Thursday\, March 10 beginning at 2:30 pm PT / 5:30 pm ET. \n\nZoom info:\nhttps://us02web.zoom.us/j/89053810326?pwd=N3VsMUsyT3VmaXFNUDBJUXBodTU3dz09 \nMeeting ID: 890 5381 0326\nPasscode: 740950 \n\nCatherine Opie\nJanuary 13-April 9\, 2022\nUntitled #4 (Swamps)\nCourtesy of the artist Catherine Opie and Lehmann Maupin\, New York\, Hong Kong\, Seoul and London and Regen Projects\, Los Angeles
URL:https://artinamericaguide.com/event/catherine-opie-artist-talk-lecture/
CATEGORIES:Event
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2022/03/web_regen.jpg
ORGANIZER;CN="Regen Projects":MAILTO:elizabeth@regenprojects.com
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20210911
DTEND;VALUE=DATE:20211024
DTSTAMP:20260613T112307
CREATED:20210805T200839Z
LAST-MODIFIED:20210903T213620Z
UID:84483-1631318400-1635033599@artinamericaguide.com
SUMMARY:Jack Pierson: Less and more
DESCRIPTION:Jack Pierson\nLess and more\nSeptember 11 – October 23\, 2021\nOpening: Saturday\, September 11\, 10:00 am – 6:00 pm\nGallery hours: Tuesday – Saturday\, 10:00 am – 6:00 pm \nRegen Projects is pleased to present Less and more\, a career-spanning exhibition of works by Jack Pierson. This marks the artist’s tenth solo presentation at the gallery. \nOver the course of more than three decades Pierson has wryly and poetically explored themes of memory\, desire\, longing\, beauty\, despair\, loss\, and glamour. Although Pierson emerged as the youngest member of the so-called Boston School\, which included fellow photographers David Armstrong\, Philip-Lorca diCorcia\, Nan Goldin\, and Mark Morrisroe\, his practice quickly expanded beyond photography into drawing\, painting\, collage\, installation\, and text-based sculpture. Pierson is known for his ability to subtly coax the poetic from the everyday—manifesting romantic affect\, longing\, and desire through seemingly banal objects\, rough sketches\, and charged turns of phrase. As New York Times art critic Roberta Smith states in a recent exhibition review\, “The deep content of Jack Pierson’s art is the vulnerability of life devoured by time.” \nLess and more will be arranged as a poetic\, achronological\, and comprehensive installation that tracks Pierson’s diverse yet idiosyncratic practice\, creating a sojourn through his career. Pierson has undoubtedly mined his own queerness\, and specifically queer desire\, through both a historical and personal lens\, tying these threads together through found images plucked from the media\, snapshot photography\, portraits\, and collage. Early sculptures and installations recalling and even reconstructing slices of the domestic will also be brought together for the exhibition to showcase Pierson’s ability to imbue objects with the tenderness we often associate with the intimate space of the home. His practice has been equally invested in explorations of materiality\, the formal qualities of line\, shape\, and color\, and the possibilities inherent in abstraction. As such\, this exhibition will showcase a wide selection of drawings\, paintings\, watercolors\, and collages that provide evidence of Pierson’s long-standing commitment to these mediums and modes of expression. \nIn addition to bringing together work produced during the length of Pierson’s career\, Less and more will also present a selection of new works. The exhibition will include large-format photographs that transform earlier works into historical documents\, text-based sculptures\, and collaged works on metal supports that can be rearranged and reconfigured upon each showing to account for new material collected by the artist. \nJack Pierson (b. 1960\, Plymouth\, MA) earned a BFA from the Massachusetts College of Art in 1984. \nPierson’s work has been featured in solo exhibitions nationally and internationally including 5 Shows from the ‘90s\, Aspen Art Museum (2017); OMG\, Wadsworth Atheneum\, Hartford\, CT (2015); Centro de Arte Contemporáneo de Málaga (2009); Irish Museum of Modern Art\, Dublin (2008); Regrets\, Museum of Contemporary Art\, Miami (2002); and the Museum of Contemporary Art Chicago (1995); among others. Next spring\, he will participate in High Desert Test Sites 2022: The Guests of Hotel Palenque. \nWork by the artist is held in prominent museum collections including The Baltimore Museum of Art; Institute of Contemporary Art\, Boston; Los Angeles County Museum of Art; The Metropolitan Museum of Art\, New York; Museum of Contemporary Art Chicago; Museum of Contemporary Art\, Los Angeles; Museum of Contemporary Art\, North Miami; Museum of Fine Arts\, Boston; The Museum of Fine Arts\, Houston; San Francisco Museum of Modern Art; Seattle Art Museum; Solomon R. Guggenheim Museum\, New York; Walker Art Center\, Minneapolis; Whitney Museum of American Art\, New York; and Yale University Art Gallery\, New Haven\, among others. \nPierson has been a prolific creator of artist books and zines throughout his career\, with notable examples of these publications including the celebrated Tomorrow’s Man series\, now in its fifth edition (Bywater Bros. Editions\, 2020); JACK PIERSON + BABY ROBERTS (EY! BOY COLLECTION\, 2020); Stardust (Salon Verlag\, 2012); Sing a Song of Sixpence (Salon Verlag\, 1997); All of a Sudden (Powerhouse\, 1995); and Angel Youth (Galerie Aurel Scheibler\, 1992). \nSeveral of his early artist books were compiled and reprinted in a 2008 monograph\, Angel Youth (Charta\, 2008)\, titled after his 1992 artist book. Other monographs of his work include The Hungry Years (Damiani\, 2017); Desire/Despair (Rizzoli\, 2006); Every Single One of Them (Twin Palms\, 2004); and The Lonely Life (Ursula Blickle\, 1997); among others. \nHe lives and works in New York and Wonder Valley\, CA. \nFor all press inquiries\, please contact Elizabeth Gartner at +1 310 276 5424 or elizabeth@regenprojects.com. \nFor all other inquiries\, please contact Bryan Barcena\, Stephanie Dudzinski\, Jennifer Loh\, or Irina Stark at Regen Projects.
URL:https://artinamericaguide.com/event/jack-pierson-less-and-more/
LOCATION:Regen Projects\, 6750 Santa Monica Boulevard\, Los Angeles\, CA\, 90038\, United States
CATEGORIES:Exhibition
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2021/08/jp-958.JP-2021-AF7_image-file-scaled.jpg
ORGANIZER;CN="Regen Projects":MAILTO:elizabeth@regenprojects.com
GEO:34.0904664;-118.3377023
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Regen Projects 6750 Santa Monica Boulevard Los Angeles CA 90038 United States;X-APPLE-RADIUS=500;X-TITLE=6750 Santa Monica Boulevard:geo:-118.3377023,34.0904664
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20210327
DTEND;VALUE=DATE:20210523
DTSTAMP:20260613T112307
CREATED:20210325T204717Z
LAST-MODIFIED:20210325T204717Z
UID:80587-1616803200-1621727999@artinamericaguide.com
SUMMARY:Liz Larner: As Stars and Seas Entwine
DESCRIPTION:Liz Larner\nAs Stars and Seas Entwine\nMarch 27 – May 22\, 2021 \nGallery hours by appointment: Tuesday – Saturday\, 10:00 am – 6:00 pm \n  \n“Plastics…were used in furniture\, clothing\, containers\, appliances\, just about everything. Sometimes the poisons leached into food or water and caused cancer\, and sometimes there was a fire and plastics burned and gassed people to death…. The only place that has enough of it to be a real danger is right here.” \n— Octavia E. Butler\, Adulthood Rites\, 1988 \n  \nRegen Projects is pleased to present As Stars and Seas Entwine\, the eighth solo exhibition by Los Angeles-based artist Liz Larner\, whose deep research-based practice is united by a continual exploration of form\, material\, and color. This exhibition will debut one of the new large-scale floor sculptures and a number of ceramic works that will be included in Below Above\, a forthcoming museum exhibition at Kunsthalle Zurich in the summer of 2022. \nThe works on view reveal Larner’s acceptance of Posthumanist thought that the Anthropocene induces as the world becomes beleaguered by rapidly depleting resources and the massive waste that accompanies our extractive industries. The large low floor sculpture\, a sea foam/meerschaum drift\, seems to billow and surge through the space. The undulating form constructed of conjoined plastic refuse was collected by Larner over the course of three years. Serving as a meditation on the pervasive and exponential presence of plastic in the world\, the sculpture is at once beautiful and horrible\, a complex combination that evokes the pathos of its material. This Meerschaum Drift’s materiality belies its intricate form and supposes a transformation of crude material into an art object. Plastic-derived acrylic paint applied to its surface gives the sculpture the overall sense of movement in color from deep blue to green to white\, evoking the ephemeral quality of sea foam for which it is named. \nAs hinted to in the exhibition’s title\, a new series of Asteroid works conjunct the same space as the Meerschaum Drift. These free-form ceramics embody the terrestrial material of their making while illuminating celestial qualities of asteroids\, apparent in their form and unearthly looking glazed surfaces. The works stand for the many known and unknown bodies moving in space which contain the real possibility of violent collision\, even as their presence and number in our solar system are always being discovered. Investigating the diffractive relation between human experience\, cultural forms\, material ecologies\, and the natural world\, Larner’s Asteroids embody a small piece of the heavens as art and ask us to consider our connection to that which is known but is not always seen. \n  \nLiz Larner (b. 1960) received her BFA from the California Institute of the Arts in 1985. She lives and works in Los Angeles. \nLarner’s work will be the subject of a solo museum exhibition at SculptureCenter in New York in January 2022 and Walker Art Center\, Minneapolis in April of 2022. A solo presentation of her work will be held at Kunsthalle Zurich in summer 2022. Previous solo and two-person museum exhibitions include Aspen Art Museum (2016); Art Institute of Chicago (2015); Two or Three or Something: Maria Lassnig\, Liz Larner\, Kunsthaus Graz\, Austria (2006); Museum of Contemporary Art\, Los Angeles (2001); I Thought I Saw a Pussycat\, MAK—Museum of Applied Arts\, Vienna (1998); and Kunsthalle Basel (1997). \nGroup exhibitions featuring Larner’s work include New Time: Contemporary Art and Feminisms in the 21st Century\, opening in fall 2021 at Berkeley Art Museum and Pacific Film Archive\, Berkeley\, CA; Seven Stations: Selections from MOCA’s Collection\, currently at the Museum of Contemporary Art\, Los Angeles; The Foundation of the Museum: MOCA’s Collection\, Museum of Contemporary Art\, Los Angeles (2019); Damage Control\, Hirshhorn Museum and Sculpture Garden\, Washington\, D.C. (2013); Blues for Smoke\, Museum of Contemporary Art\, Los Angeles (2012); Under Destruction\, Museum Tinguely\, Basel (2010); the International Biennial of Contemporary Art of Seville\, The Unhomely: Phantom Scenes in Global Society (2006); and Helter Skelter: L.A. Art in the 1990s\, Museum of Contemporary Art\, Los Angeles (1992). She was featured in two Whitney Biennials (2006\, 1989). \nShe has been the recipient of numerous awards including the Mutina This Is Not a Prize (2018); the Nancy Graves Foundation Grant (2014); Smithsonian American Art Museum Lucelia Artist Award (2002); Anonymous Was a Woman (2000); and a Guggenheim Fellowship (1999). \nWork by the artist is held in prominent international collections\, including the Art Institute of Chicago; Albright-Knox Art Gallery\, Buffalo; Blanton Museum of Art\, The University of Texas\, Austin; Dallas Museum of Art; Hammer Museum\, Los Angeles; Museo Jumex\, Mexico City; Los Angeles County Museum of Art; MAK—Museum of Applied Arts\, Vienna; Milwaukee Art Museum; Museum of Contemporary Art\, Chicago; Museum of Contemporary Art\, Los Angeles; Museum of Contemporary Art\, San Diego; San Francisco Museum of Modern Art; Smithsonian American Art Museum\, Washington\, D.C.; Stedelijk Museum\, Amsterdam; Walker Art Center\, Minneapolis; and Whitney Museum of American Art\, New York. \nRegen Projects is open by appointment only. Make a reservation to visit the exhibition here. \nImage: Meerschaum Drift (detail)\, 2021 \n 
URL:https://artinamericaguide.com/event/liz-larner-as-stars-and-seas-entwine/
LOCATION:Regen Projects\, 6750 Santa Monica Boulevard\, Los Angeles\, CA\, 90038\, United States
CATEGORIES:Exhibition
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2021/03/Liz-Larner.jpg
ORGANIZER;CN="Regen Projects":MAILTO:elizabeth@regenprojects.com
GEO:34.0904664;-118.3377023
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Regen Projects 6750 Santa Monica Boulevard Los Angeles CA 90038 United States;X-APPLE-RADIUS=500;X-TITLE=6750 Santa Monica Boulevard:geo:-118.3377023,34.0904664
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20210327
DTEND;VALUE=DATE:20210523
DTSTAMP:20260613T112307
CREATED:20210325T204647Z
LAST-MODIFIED:20210325T204647Z
UID:80589-1616803200-1621727999@artinamericaguide.com
SUMMARY:Make-Shift-Future\, curated by Elliott Hundley
DESCRIPTION:Make-Shift-Future\nCurated by Elliott Hundley\nMarch 27 – May 22\, 2021 \nGallery hours by appointment: Tuesday – Saturday\, 10:00 am – 6:00 pm \n  \nRegen Projects presents Make-Shift-Future\, a group exhibition curated by Elliott Hundley\, featuring Kevin Beasley\, Elaine Cameron-Weir\, rafa esparza\, Max Hooper Schneider\, Eric N. Mack\, Alicia Piller\, Eric-Paul Riege\, and Kandis Williams. \n“I am interested in studying ancient literature because\, like speculative fiction\, it can massage loose the underpinnings of our attachments to pervasive contemporary mythologies\, so that we might gain a clearer view of ourselves and reveal the blind spots. So many blind spots. \nCollage and assemblage function similarly by transposing tactile and familiar signs and symbols into new disquieting and uncanny situations. The medium\, for much of its history\, has scavenged for the discarded\, broken\, and disused. In this age of abundant material commerce\, the predicted age of peak oil\, we no longer need to wait to root through the trash. Objects are produced at such a staggering rate\, that the time they spend in our lives is forever fleeting on the way to the landfill (tomorrow’s mine). These artists gather objects\, valued and valueless\, new and used\, from their own material worlds. With the stuff of an ever-speeding present at hand\, this current moment increasingly feels like the past. \nThis exhibition brings together the work of eight emergent American artists who exploit this excess materiality of global commerce to mine history\, to attune us to the meaning and artifacts of other people’s lives\, and\, I believe\, to point to potential futures. Though informed and formed by history\, they reject any nostalgia. Like Edith and Sodom or Orpheus and Eurydice\, there is no looking back! \nAs assemblage art is assimilated into the canon (see contemporary mythology) it hybridizes and folds back on the more traditional plastic arts. The work in this exhibition includes the full spectrum of the found and the fabricated\, and in most cases those distinctions are softened again through artistry. The labor of the artist seems always relevant\, intermingled with the labor that produced these original objects in the first place. Did they make this stitch or that one? The intensity of the artist’s hand and this doubling of the making of these objects lend them their charge. \nAs with an artwork in the studio\, unexpected meanings and connections reveal themselves in exhibitions. Seeing these works together\, what emerged was a particular concern for the body and protecting it in different stages of life. The incubator\, the skin\, clothing\, shoes\, blankets\, armor: What will we put on to keep us safe? What will we carry to keep us safe? What will help us in the future? What will liberate us?” \n—  Elliott Hundley \n  \nIn preparing this text\, I asked each artist how their work might speculate about possible futures. Here are some excerpts from their responses: \nMHS: “The future is always present\, always on its way\, its specificities only characterizable when a thinker arbitrarily stops time and performs a fossilizing gesture—or produces a work of art.” \nENM: “The futures will deal with our waste\, what we leave behind. Our present frivolities\, material and emotional\, may speak for us as points of expression. Hopefully new freedoms will inspire an outward glance to restructure beauty.” \nKW: “What would abolition look like if Anna Murray Douglass was where she should be? What would concert music sound like if Nina Simone were positioned where she should be? What would the world look like if Black women were believed?” \nre: “My Nike shoe reconstructions offer the possibility of liberation and healing from specters of violence that have historically marginalized and criminalized Black and brown youth especially as it pertains to how we fashion ourselves.” \nAP: “Stripping away layers\, centuries of culture\, race and gender binaries\, this work specifically speaks to the evolution of the mind. Literally peeling away the skin to find the truth that is underneath\, our humanness.” \nEPR: “‘HEAT thru from a pillow or a splinter filing a wrinkle thats a lil Shy..Dam..has it been this\nplace all the time or was that blanket warm enough ? [//__//] [|-|] []=[] AND then the hide\nscrubbed clean and the shield didnt break anymore. . Burnt Water AZ—the pillow has\nbeen in that place all the time’ — HÓLÓ \nblankets have warmed us for a long time why not just keep making MORE. Make a\nblanket for a blanket—they get cold 2 .” \n  \nBiographies \nKevin Beasley (b. 1985 Lynchburg\, VA; lives and works in New York\, NY) \nElaine Cameron-Weir (b. 1985 Red Deer\, Alberta\, Canada; lives and works in New York\, NY) \nrafa esparza (b. 1981 Los Angeles\, CA; lives and works in Los Angeles\, CA) \nMax Hooper Schneider (b. 1982 Los Angeles\, CA; lives and works in Los Angeles\, CA) \nEric N. Mack (b. 1987 Columbia\, MD; lives and works in New York\, NY) \nAlicia Piller (b. 1982 lives and works in Los Angeles\, CA) \nEric-Paul Riege (b. 1994 Gallup\, NM; lives and works in Gallup\, NM) \nKandis Williams (b. 1985 Baltimore\, MD; lives and works in Los Angeles\, CA) \n  \nRegen Projects is open by appointment only. Make a reservation to visit the exhibition here. \nImage: Kandis Williams\, candyman urban threat modeling\, becky\, karen\, nike\, athena: a future foreclosed to all but king kong and faye wray\, 2020 \n 
URL:https://artinamericaguide.com/event/make-shift-future-curated-by-elliott-hundley/
LOCATION:Regen Projects\, 6750 Santa Monica Boulevard\, Los Angeles\, CA\, 90038\, United States
CATEGORIES:Exhibition
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2021/03/Kandis-Williams-scaled.jpg
ORGANIZER;CN="Regen Projects":MAILTO:elizabeth@regenprojects.com
GEO:34.0904664;-118.3377023
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Regen Projects 6750 Santa Monica Boulevard Los Angeles CA 90038 United States;X-APPLE-RADIUS=500;X-TITLE=6750 Santa Monica Boulevard:geo:-118.3377023,34.0904664
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20210219T140000
DTEND;TZID=America/Los_Angeles:20210219T153000
DTSTAMP:20260613T112307
CREATED:20210128T163443Z
LAST-MODIFIED:20210128T163443Z
UID:79725-1613743200-1613748600@artinamericaguide.com
SUMMARY:Doug Aitken in conversation with Max Hollein | Friday\, February 19
DESCRIPTION:Join Regen Projects for a virtual conversation with Doug Aitken on the occasion of Aitken’s exhibition ‘Flags and Debris\,’ currently on view at the gallery. Aitken will be joined by Max Hollein\, Director of the Metropolitan Museum of Art. Advanced registration required.Register here: https://us02web.zoom.us/webinar/register/WN_GYYr6_QnTB6t8GsFXfFx3w
URL:https://artinamericaguide.com/event/doug-aitken-in-conversation-with-max-hollein-friday-february-19/
CATEGORIES:Event,Virtual Events + Viewing Rooms
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2021/01/DA-MH-portraits-scaled.jpg
ORGANIZER;CN="Regen Projects":MAILTO:elizabeth@regenprojects.com
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20210116
DTEND;VALUE=DATE:20210314
DTSTAMP:20260613T112307
CREATED:20210107T155714Z
LAST-MODIFIED:20210107T155714Z
UID:79420-1610755200-1615679999@artinamericaguide.com
SUMMARY:Doug Aitken: Flags and Debris
DESCRIPTION:Regen Projects is pleased to present Flags and Debris\, an exhibition of new work by Los Angeles-based artist Doug Aitken. The works form an ecosystem of interconnected mediums\, mixing dance\, performance\, film\, sculpture\, and handmade objects. Each plays off the other\, creating a choreography of images\, language\, and sound. \nThe exhibition comprises all new work conceived in the last 10 months\, a time of profound change in the face of the pandemic. The body of work reflects the tension collectively felt between our isolation from the physical landscape of the exterior world and newly created spaces for turning inward to explore the subconscious landscape. At heart\, the works are a portrait of a society moving toward the future. \nFlags and Debris consists of a new series of handmade fabric wall hangings and a hallucinatory multi-screen installation. The fabric works were generated during lockdown when\, searching for materials inside his home\, Aitken began to cut clothes and fabrics. From these materials he created shapes to articulate words and phrases that spoke of a shifting world in continuous change. Conversely\, the physical process of creating these works was a study of stillness. They resemble flags and banners while also suggesting protective coverings for warmth and security. \nThe collaged layers of fabric build into visual and written abstractions. These works provoke reflection on the nature of reality and visions of the future: Fragmented phrases like ‘Noise\,’ ‘Digital Detox\,’ ‘Data Mining\,’ ‘Nowhere/Somewhere\,’ and ‘Resist Algorithms’ appear like handcrafted digital glitches\, while other works ruminate in full prose\, including an excerpt from a text by Joan Didion\, whose writing has served as an inspiration to Aitken. \nAitken also initiated a series of impromptu performances throughout Los Angeles using the new fabric works. He filmed these performances\, translating them into the new multi-screen installation. The performances are based on choreographies Aitken developed working with LA Dance Project. Wrapped in the artworks\, the dancers moved through desolate industrial locations and empty urban spaces. Their movements were unique to each setting\, activating the spaces with kinetic energy. \nThe film captures fleeting moments and mysterious and random encounters. Sleepwalking bodies are wrapped and covered\, moving\, jerking\, fighting\, and thrusting through the nocturnal\, desolate city. The fabric moves through the wind as though empty — phantom presences roaming through spaces. The film reflects snapshots of a surreal life\, as if seen out of the corner of the eye\, pushing one to explore a modern landscape that is in continuous flux. It is set in shadowland spaces such as freeway underpasses\, urban rivers\, and desolate industrial areas where empty sites are transformed from passive to active. Bodies occupying the artworks shapeshift under the layers of fabric in movements that explore the unseen and hidden worlds of interior thought. \nIn discussing the work Aitken said\, “Flags and Debris acts like a kaleidoscopic mirror\, reflecting a broken narrative landscape. Pulses of electricity merge with the human heartbeat through a landscape that is expansive and anonymous. As we look at these artworks\, we stand looking at a horizon transfixed at what could be\, uncertain of where we are positioned\, but looking towards the possibilities of the future.” \nThe exhibition furthermore extends outside the gallery walls by way of a poster campaign wheat-pasted across Los Angeles. Containing a QR code\, the posters act as virtual portals\, expanding the art experience to anyone — anywhere — in the city. Ubiquitous and yet hidden in plain sight\, the posters are an egalitarian art encounter\, further blurring the boundary between our physical and digital realities. Those with the curiosity to engage with it are transported in place to an experience of Los Angeles as they have never seen it before. \nWatch a short film here.  \nAitken would like to thank LA Dance Project and Sébastien Marcovici for their participation in this project\, and in particular\, the talented dancers Anthony Lee Bryant\, David Adrian Freeland\, Jr.\, Mario Gonzalez\, Vinicius Silva\, and Nayomi Van Brunt.
URL:https://artinamericaguide.com/event/doug-aitken-flags-and-debris/
LOCATION:Regen Projects\, 6750 Santa Monica Boulevard\, Los Angeles\, CA\, 90038\, United States
CATEGORIES:Exhibition
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2021/01/DA-506-2.jpg
ORGANIZER;CN="Regen Projects":MAILTO:elizabeth@regenprojects.com
GEO:34.0904664;-118.3377023
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Regen Projects 6750 Santa Monica Boulevard Los Angeles CA 90038 United States;X-APPLE-RADIUS=500;X-TITLE=6750 Santa Monica Boulevard:geo:-118.3377023,34.0904664
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20201212T130000
DTEND;TZID=America/Halifax:20201212T143000
DTSTAMP:20260613T112307
CREATED:20201208T194435Z
LAST-MODIFIED:20201208T194435Z
UID:79189-1607778000-1607783400@artinamericaguide.com
SUMMARY:Kader Attia in conversation with Ralph Rugoff
DESCRIPTION:Join us for a virtual conversation with Kader Attia on the occasion of his debut Los Angeles exhibition\, The Valley of Dreams\, currently on view at Regen Projects. Attia will be joined by Ralph Rugoff\, Director of London’s Hayward Gallery\, which organized the first survey of Attia’s work in the UK\, The Museum of Emotion\, in 2019. Advanced registration required (link below).
URL:https://artinamericaguide.com/event/kader-attia-in-conversation-with-ralph-rugoff/
CATEGORIES:Virtual Events + Viewing Rooms
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2020/12/ka-asset-4-1-scaled.jpg
ORGANIZER;CN="Regen Projects":MAILTO:elizabeth@regenprojects.com
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20201112T100000
DTEND;TZID=America/Los_Angeles:20201223T180000
DTSTAMP:20260613T112307
CREATED:20201106T182933Z
LAST-MODIFIED:20201111T204436Z
UID:78677-1605175200-1608746400@artinamericaguide.com
SUMMARY:Kader Attia: The Valley of Dreams
DESCRIPTION:Regen Projects is pleased to present Kader Attia’s Los Angeles debut\, The Valley of Dreams. The exhibition will present a selection of new and preexisting works in various media including a lightbox photograph\, ceramics\, sculptures\, and a large-scale installation that continue his material and philosophical investigation of the notion of repair as a global\, cultural phenomenon in response to historic\, collective trauma. This marks Attia’s first show at the gallery. \nBorn in Paris and raised between France and Algeria\, Attia’s practice is informed by his experience of living within two cultures. His rigorous\, research-based works examine the lasting and wide-ranging effects of Western colonial hegemony on non-Western cultures. Attia says\, “I have always felt a strong analogy between California\, New Mexico\, Texas\, and North Africa. They are indeed located on the same latitude\, their climates are similar (desert and sea)\, and\, most importantly\, they are the areas thousands of migrants attempt to cross despite the danger.” The exhibition’s title\, The Valley of Dreams\, offers a critique of ideologies that proffer Western modernity and progress while so often taking a devastating human toll — places like Hollywood\, where\, in Attia’s words\, “hopes and dreams are nurtured and then confronted with harsh reality.” \nRochers Carrés\, a 2020 illuminated lightbox\, sets the conceptual stage for the exhibition. Seen from the vantage of an Algerian breakwater\, the image depicts the sun-bronzed backs of two boys peering out at the horizon of the Mediterranean Sea. The infinite expanse of ocean before them—the point of departure for many refugees—embodies the promise of a better life elsewhere. The promised land is symbolized in Attia’s 2007 installation Untitled (Skyline)\, a group of variously sized refrigerators entirely overlayed in mirrored tiles. Lit against a dark backdrop\, the work produces an intoxicating mirage of a glittering metropolis while also provoking associations both of consumerism and of basic human need. In contrast to these hopeful scenes\, The Dead Sea\, 2016\, a large-scale installation comprised of piles of blue garments lifelessly strewn across the gallery floor\, silently memorializes the destruction left in the wake of the migrant crisis. \nAttia takes inspiration from French theorist Gilles Deleuze\, whose notion of “the fold” (le pli) forms a conceptual through line for much of the work presented here. Deleuze articulates a theory of becoming that he likens to a process of folding-in or incorporating outside attributes\, like so many pleats. For Attia\, injury is as important as repair\, and he finds meaning in the ways non-Western cultures highlight or preserve the trace of injury\, as opposed to the Western obsession with erasing the mark/injury as a brutal denial that often leads to more trauma. Paying tribute to the Japanese art of kintsugi\, whereby broken pottery is repaired with lacquer dusted with powdered gold\, shattered north African Berber ceramic dishes are mended with Tuareg blue colored epoxy. Employing a similar technique\, blue paint is applied to the creased surfaces of crumpled paper dehydrated milk bags\, encased in Plexiglas boxes and suspended from the ceiling. Carved wooden West African masks representing various animals are affixed with fragments of broken mirrors\, serving as a glimmering reminder of Modernism’s reliance on so-called “primitive” cultures to help reshape their own\, and reflect the viewer into a fragmented cubistic image. \nDiscussing the thematic role of repair in this exhibition\, Attia describes its central paradox: \n“Repair is an oxymoron\, because ‘injury’ is its raison d’être. One cannot think about repairing something that hasn’t been injured. The state of the injured thing (the failure) and the state of the repaired thing (the repair) are forever bound in a causal layout that runs in the ethical and aesthetic loop of repair. This is true for all metaphors of repair: natural\, cultural\, political\, immaterial\, and so on…” \n  \nKader Attia (b. 1970 Dugny\, France) grew up in Paris and Algeria. He has received degrees from the Ecole Supérieure des Arts Appliqués Duperré\, Paris in 1993\, La Escola Massana Arte i Disseny\, Barcelona in 1994\, and Ecole Nationale Supérieure des Arts Décoratifs\, Paris in 1998. \nAttia’s work is the subject of Irreparable Repairs\, currently being presented at Sesc Pompeia in São Paulo through January 2021. A significant solo exhibition of his work\, Remembering the Future\, was recently organized at Kunsthaus Zürich\, where it was shown until earlier this month\, and Mathaf: Arab Museum of Modern Art will stage a solo presentation of his work in 2021. Past solo exhibitions have been organized at the Hayward Gallery\, London (2019); Berkeley Art Museum and Pacific Film Archive\, Berkeley (2019); Fundació Joan Miró\, Centre d’Estudis d’Art Contemporani\, Barcelona (2018); Power Plant\, Toronto (2018); Hood Museum of Art\, Dartmouth College\, Hanover\, NH (2018); Palais de Tokyo\, Paris (2018); The Museum of Contemporary Art\, Sydney (2017); Block Museum of Art\, Northwestern University\, Evanston\, IL (2017); Centre Georges Pompidou\, Paris (2017); Museum für Moderne Kunst\, Frankfurt am Main (2016); Musée Cantonal des Beaux Arts\, Lausanne (2015); KW Institute for Contemporary Art\, Berlin (2013); Whitechapel Gallery\, London (2013); Musée d’Art Moderne de la Ville de Paris (2012); Institute of Contemporary Art\, Boston (2007); and Musée d’Art Contemporain de Lyon (2006). \nRecent group exhibitions featuring his work include Daily Nightshift\, Kunsthal Extra City\, Antwerpen (2020); Down to Earth\, Gropius Bau\, Berlin (2020); Phantom Limb\, Jameel Arts Center\, Dubai (2019); When Home Won’t Let You Stay: Migration Through Contemporary Art\, Institute of Contemporary Art Boston (2019); The Warmth of Other Suns: Stories of Global Displacements\, Phillips Collection\, Washington\, D.C. (2019); The Flow of Forms\, Pinakothek der Moderne\, Munich (2017); Foreign Gods: Fascination Africa and Oceania\, Leopold Museum\, Vienna (2016); But a Storm Is Blowing from Paradise: Contemporary Art of the Middle East and North Africa\, Solomon R. Guggenheim Museum\, New York (2016); Picasso in Contemporary Art\, Deichtorhallen\, Hamburg (2015); Here and Elsewhere\, New Museum\, New York (2014); Performing Histories\, The Museum of Modern Art\, New York (2012); and Contested Terrains\, Tate Modern\, London (2011). \nAttia has participated in multiple biennial exhibitions including the 12th Gwangju Biennial\, Gwangju\, South Korea (2018); 12th Shanghai Biennale (2018); Manifesta 12 (2018); 4th and 6th Marrakesh Biennial (2014 and 2016); 8th and 13th Lyon Biennale (2005 and 2015); dOCUMENTA (13) (2012); and the 50th and 57th Venice Biennale (2003 and 2017). \nHis work is included in numerous public collections internationally including Centre Pompidou\, Paris; Institute of Contemporary Art\, Boston; Fundación Jumex\, Mexico City; Museum für Moderne Kunst\, Frankfurt am Main; The Museum of Modern Art\, New York; Solomon R. Guggenheim Museum\, New York; and Tate Gallery\, London. \nAttia has received several prestigious awards including the 2017 Joan Miró Prize\, Fundació Joan Miró\, Barcelona\, the 2017 Yanghyun Prize\, Seoul\, and the 2016 Prix Marcel Duchamp\, Paris. \nHe lives and works in Berlin and Paris. \nRegen Projects is open by appointment only. Make a reservation to visit the exhibition here. \nFor all press inquiries\, please contact Ben Thornborough at +1 310 276 5424 or benthornborough@regenprojects.com. \nFor all other inquiries\, please contact Sarvia Jasso\, Katy McKinnon\, or Irina Stark at Regen Projects. \nImage: Rochers Carrés\, 2020. Lightbox. 78 3/4 x 98 1/2 x 10 inches.
URL:https://artinamericaguide.com/event/kader-attia-the-valley-of-dreams/
LOCATION:Regen Projects\, 6750 Santa Monica Boulevard\, Los Angeles\, CA\, 90038\, United States
CATEGORIES:Exhibition
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2020/11/KA-107-reference-for-lightbox-scaled.jpg
ORGANIZER;CN="Regen Projects":MAILTO:elizabeth@regenprojects.com
GEO:34.0904664;-118.3377023
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Regen Projects 6750 Santa Monica Boulevard Los Angeles CA 90038 United States;X-APPLE-RADIUS=500;X-TITLE=6750 Santa Monica Boulevard:geo:-118.3377023,34.0904664
END:VEVENT
END:VCALENDAR