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SUMMARY:Elliott Hundley: Echo
DESCRIPTION:Regen Projects is pleased to present Echo\, a survey of works by Elliott Hundley that showcases the breadth and depth of the artist’s practice over the last 20 years. On view from January 14 – February 19\, Hundley’s sixth solo presentation with the gallery will bring together a concentrated\, at times overlapping array of works including large-scale collages\, freestanding and hanging sculptures\, assemblages\, paintings\, photographs\, ceramics\, and works on paper.⁠
URL:https://artinamericaguide.com/event/elliott-hundley-echo/
LOCATION:Regen Projects\, 6750 Santa Monica Boulevard\, Los Angeles\, CA\, 90038\, United States
CATEGORIES:Exhibition
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SUMMARY:Daniel Richter: 'Furor II'
DESCRIPTION:Press preview: Thursday\, November 3\, 11:00 am\nOpening reception: Thursday\, November 3\, 6:00 – 8:00 pm\nGallery hours: Tuesday – Saturday\, 10:00 am – 6:00 pm \n  \nRegen Projects is pleased to present Furor II\, an exhibition of new paintings by German artist Daniel Richter. This marks the artist’s fifth solo presentation with the gallery. \n\n\n\n\nRichter came to prominence in the 1990s with bold\, gestural\, colorful\, and even psychedelic abstract paintings that gained attention in the wake of Germany’s neo-expressionist Junge Wilde generation. Though he found early critical success with the riotous formal language of his abstract works\, Richter has continually refused to settle into any single defining style. Steeped in the canon of German painting\, Richter’s own work does not so much as undertake the projects of his forebears as it dissects and cannibalizes them in his pursuit of new meaning. Toward the beginning of the aughts\, influenced by Symbolists like Pierre Bonnard and James Ensor\, Richter would embrace figuration\, deriving his subjects from contemporary media images found in newspapers and magazines in an endeavor to develop a form of contemporary history painting. \n\n\n\n\nOver the last several years\, the artist has taken to a process that prioritizes the gestural qualities of painting and the possibilities of the medium itself. Employing a variety of painterly techniques that fragment the figurative with emotive gestures\, these bold new canvases serve as an inquiry into the very nature of painting and the process by which images are multiplied and consumed. Whereas Richter’s earlier works drew from multiple sources to form an allegory\, his latest developments explore all the possible permutations that can derive from a single source using differing forms\, color palettes\, and textures. \n\n\n\n\nFuror II continues Richter’s exploration into this iterative process. Here\, a postcard from 1916 depicting two wounded WWI soldiers serves as one in a limited set of germinal reference images for these paintings. The postcard\, once produced for mass commercial distribution and consumption\, becomes the departure point from which Richter considers the atrophying effects of repetition on meaning\, context\, and feeling. Through such repetition\, Richter transforms his source images into complex\, paradoxically joyful compositions that oscillate between abstraction and figuration. Human figures metamorphose into forms resembling steam shovels\, distended teardrops\, shattered ribcages\, even butterflies. Sharp lines jut across patchy color-blocked backgrounds\, hinting at competing horizons\, while the outlines of witnesses and onlookers take shape in the foreground. Unsettling yet ultimately playful\, Richter’s newest paintings address social\, political\, and historical issues\, while the frenetic furor of his process results in open-ended compositions that defy categorization. \n\n\n\n\n“The motifs in Daniel Richter’s latest works—distantly reminiscent of human figures—do not signify specific people or events but have been freely painted as the bodies of painting. Their dancing\, their wrestling\, their attacks on others are like any form of human resistance to an overwhelming force. Violence and love\, like obsession and submission\, are close bedfellows\, and then there is also the furor—the rage—that comes across in the way Daniel Richter voices his convictions.” \n— Eva Meyer-Hermann\, “Chiaroscuro\,” from Daniel Richter: Limbo (2022) \n\n\n\n\n  \nDaniel Richter (b. 1962\, Eutin\, Germany) studied at the Hochschule für bildende Künste in Hamburg under Werner Büttner from 1992 – 1996\, and later worked as an assistant to Albert Oehlen. From 2004 – 2006 he served as Professor for Painting at the Universität der Künste in Berlin. Since 2006\, he has been teaching at the Akademie der bildenden Künste in Vienna. \n\n\n\n\nRichter was recently the subject of two solo exhibitions—Limbo\, curated by Eva Meyer-Hermann\, Museo Ateneo Veneto\, Venice\, and My Lunatic Neighbar\, Space K\, Seoul. His work has been the subject of numerous solo and two-person exhibitions worldwide\, including im Atelier Liebermann: Daniel Richter/Jack Bilbo\, Stiftung Brandenburger Tor\, Max Liebermann Haus\, Berlin (2017); Lonely Old Slogans\, Louisiana Museum of Modern Art\, Humlebæk (traveled to 21er Haus\, Vienna and Camden Arts Centre\, London) (2017); Hello\, I love you\, Schirn Kunsthalle\, Frankfurt (2015); 10001 nacht\, Kestnergesellschaft\, Hannover (2011); A Major Survey\, Denver Art Museum (2009); Hamburger Kunsthalle (traveled to Gemeentenmuseum\, The Hague and CAC Málaga) (2007–2008); Huntergrund\, Museum für Gegenwartskunst\, Basel (2006); Pink Flag—White Horse\, The Power Plant\, Toronto (traveled to National Gallery of Canada\, Ottawa) (2004); Grünspan\, K21 Kunstsammlung Nordrhein-Westfalen\, Düsseldorf (2002); Billard um halb Zehn\, Kunsthalle zu Kiel (2001); and Für Immer (Tal R and Daniel Richter)\, Gesellschaft für Aktuelle Kunst\, Bremen (2000). \n\n\n\n\nWork by the artist is included in prominent museum collections internationally\, including Centre Georges Pompidou\, Paris; Denver Art Museum; Gemeentemuseum\, The Hague; Hamburger Bahnhof\, Berlin; Hamburger Kunsthalle\, Hamburg; Kunsthalle Bonn; Kunsthalle zu Kiel; Kunstmuseum Stuttgart; Louisiana Museum of Modern Art\, Humlebæk; Museum der Bildenden Künste\, Leipzig; Museum of Contemporary Art\, Los Angeles; Museum of Modern Art\, New York; Musée d’art moderne et contemporain de Strasbourg; and the National Gallery of Canada\, Ottawa. \nAn opening reception will be held on Thursday\, November 3 from 6:00 – 8:00 pm. \n\n\n\n\nFor all press inquiries\, please contact Elizabeth Gartner at +1 310 276 5424 or elizabeth@regenprojects.com.
URL:https://artinamericaguide.com/event/daniel-richter-furor-ii/
LOCATION:Regen Projects\, 6750 Santa Monica Boulevard\, Los Angeles\, CA\, 90038\, United States
CATEGORIES:Exhibition
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SUMMARY:Stars Don’t Stand Still in the Sky: A Tribute to Lawrence Weiner
DESCRIPTION:Regen Projects is pleased to present Stars Don’t Stand Still in the Sky: A Tribute to Lawrence Weiner. Weiner contributed greatly to the art of our time\, helping to shape contemporary expectations of what art is\, how it is seen\, and how it is made. This group exhibition explores the scope of this influence\, presenting Weiner’s work alongside works by his contemporaries\, his friends and collaborators\, as well as a younger generation of artists. \n  \nWeiner’s influence on the history of art\, and more specifically within the pantheon of Conceptual artists of the late 1960s and early 1970s\, is unquestionable. This tribute brings together works by many of the artists who shared in this generative moment—one that saw the birth of new kinds of autonomous artworks that sought to break the bond between idea and object. Works by artists such as Robert Barry\, Stanley Brouwn\, Daniel Buren\, John Baldessari\, Mel Bochner\, Hanne Darboven\, Joseph Kosuth\, Barry Le Va\, Sol LeWitt\, and Dennis Oppenheim will illustrate the rich moment out of which Weiner’s signature work emerged. \n  \nA pioneering figure who ushered in the dematerialization of the art object\, Weiner’s commitment to the primacy of language was equally instrumental in changing the course of contemporary art. Open-ended\, poetic\, and profound\, the statements that formed Weiner’s lexicon\, and his concept of language as visual art\, have become fundamental to the contemporary art vernacular. The exhibition illustrates how Weiner’s groundbreaking ideas extended far beyond the genre of Conceptual art to impact emerging movements as well as the work of subsequent generations of artists using the written word as material. Works by Charles Gaines\, Jenny Holzer\, Glenn Ligon\, Bruce Nauman\, Jack Pierson\, Ed Ruscha\, Sable Elyse Smith\, and others will make these connections visible. \n  \nOthers featured in the exhibition belong to the vast\, global network of friends and collaborators that Weiner fostered during his lifetime—artists such as Birgir Andrésson\, Matthew Barney\, Abraham Cruzvillegas\, Isa Genzken\, Liam Gillick\, Franka Hörnschemeyer\, Jacqueline Humphries\, Stephen Prina\, De Wain Valentine\, and Christopher Williams. \n  \nFinally\, the show will include a display of approximately 150 publications and posters Weiner produced during his lifetime\, alongside a selection of ephemera. \n  \nStars Don’t Stand Still in the Sky: A Tribute to Lawrence Weiner will include works by Doug Aitken\, Carl Andre\, Birgir Andrésson\, Art & Language\, John Baldessari\, Matthew Barney\, Robert Barry\, Kevin Beasley\, Walead Beshty\, Mel Bochner\, John Bock\, Stanley Brouwn\, Daniel Buren\, Alan Charlton\, Abraham Cruzvillegas\, Hanne Darboven\, Charles Gaines\, Isa Genzken\, Liam Gillick\, Rachel Harrison\, Jenny Holzer\, Franka Hörnschemeyer\, Alex Hubbard\, Douglas Huebler\, Jacqueline Humphries\, Joseph Kosuth\, Liz Larner\, Clarence John Laughlin\, Louise Lawler\, Barry Le Va\, Sol LeWitt\, Glenn Ligon\, Lee Lozano\, Gordon Matta-Clark\, John McCracken\, Robert Morris\, Bruce Nauman\, Catherine Opie\, Dennis Oppenheim\, Raymond Pettibon\, Jack Pierson\, Sigmar Polke\, Stephen Prina\, Robert Rauschenberg\, Ed Ruscha\, Sable Elyse Smith\, Robert Smithson\, Miroslav Tichý\, Wolfgang Tillmans\, De Wain Valentine\, Gillian Wearing\, Lawrence Weiner\, James Welling\, Christopher Williams\, and Sue Williams. The exhibition will also include an early film by Weiner featuring Kathryn Bigelow\, as well as a collaboration between Weiner and Virgil Abloh for Louis Vuitton. Ultimately\, the full extent of Weiner’s influence is impossible to encapsulate\, and there are countless others who could not be represented here whose work shares an affinity to Weiner’s groundbreaking ideas. \n  \nRegen Projects’s debut gallery exhibition was a solo Lawrence Weiner show which opened on December 8\, 1989. The gallery has done ten successive Weiner exhibitions since then and has organized this tribute to honor a great artist and friendship. \n  \nLawrence Weiner (1942 – 2021) was born in Bronx\, New York. A leading figure in the development of the Conceptual art movement in the 1960s\, Weiner’s seminal and singular practice used language as its core material—a distinct challenge to expectations of what an artwork is and can be. Questioning the fundamentals of sculpture and artmaking itself\, Weiner shifted away from object-centric work with his 1968 precept: \n  \n1. THE ARTIST MAY CONSTRUCT THE WORK \n2. THE WORK MAY BE FABRICATED \n3. THE WORK NEED NOT BE BUILT \n  \nEACH BEING EQUAL AND CONSISTENT WITH THE INTENT OF THE ARTIST \nTHE DECISION AS TO CONDITION RESTS WITH THE RECEIVER UPON THE \nOCCASION OF RECEIVERSHIP \n  \nSignificant solo exhibitions of the artist’s work have been held at museums and institutions worldwide including The Jewish Museum\, New York (2020–2021); MACRO—Museo d’Arte Contemporanea\, Rome (2020); Fundación Casa Wabi\, Puerto Escondido (2020–2021); KODE\, Bergen (2019); Museo Nivola\, Orani (2019); Berkeley Art Museum and Pacific Film Archive (2017); Milwaukee Art Museum (2017); Kunsthaus Bregenz (2016); Blenheim Palace\, Woodstock\, England (2015); Stedelijk Museum\, Amsterdam (2013); Museu d’Art Contemporani de Barcelona (2013); Tate Modern\, London (2012\, 2006); Whitney Museum of American Art\, New York (2007–2008)\, co-organized with the Museum of Contemporary Art\, Los Angeles (2008); Centro de Arte Contemporáneo de Málaga (2008); Haus der Kunst\, Munich (2007); Museo Tamayo\, Mexico City (2004); Kunstmuseum Wolfsburg (2000); Walker Art Center\, Minneapolis (1994); San Francisco Museum of Modern Art (1992); and the Hirshhorn Museum and Sculpture Garden\, Washington\, D.C. (1990); among many others. \n  \nHis work has been included in Documenta 5\, 6\, 7\, and 13 (1972\, 1977\, 1982\, 2012); the 36th\, 41st\, 50th\, and 55th iterations of La Biennale di Venezia (1972\, 1984\, 2003\, 2013); and the 27th Bienal de São Paulo (2006). \n  \nWeiner has received numerous awards and honors including the University of Applied Arts Vienna Oskar-Kokoschka Award (2022); Hirshhorn Museum and Sculpture Garden New York Gala Honoree (2019); Savannah College of Art and Design deFINE ART Honoree (2019); The Kitchen Spring Gala Honoree (2017); Aspen Art Museum Aspen Award For Art (2017); Wolf Foundation Wolf Prize (2017); Art Resources Transfer D.U.C. Honoree (2017); Roswitha Haftmann Foundation Roswitha Haftmann Prize (2014); Skowhegan Medal for Painting/Conceptual Art (1999); a Guggenheim Fellowship (1994); and two National Endowment for the Arts Visual Artist Fellowships (1976\, 1983); among others. \n  \nAn opening reception will be held on Thursday\, September 15 from 6:00 – 8:00 pm. \n  \nFor all press inquiries\, please contact Elizabeth Gartner at +1 310 276 5424 or elizabeth@regenprojects.com. \n  \nFor all other inquiries\, please contact Jennifer Loh\, Stephanie Dudzinski\, Bryan Barcena\, or Anthony Salvador at sales@regenprojects.com.
URL:https://artinamericaguide.com/event/stars-dont-stand-still-in-the-sky-a-tribute-to-lawrence-weiner/
LOCATION:Regen Projects\, 6750 Santa Monica Boulevard\, Los Angeles\, CA\, 90038\, United States
CATEGORIES:Exhibition
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SUMMARY:Sergej Jensen: ‘The Adult Light’
DESCRIPTION:Regen Projects is pleased to announce The Adult Light\, the gallery’s third solo exhibition with the Berlin- and New York-based artist Sergej Jensen. This presentation brings together oil painting on linen assemblages which foreground the relational possibilities of painting’s surface and background. \n  \nSince the early aughts\, Jensen has been known for his laconic handling of materials which\, combined with an embrace of accidents\, irregularities\, and material idiosyncrasies\, demand the viewer to consider how a painting can represent both the process of its own creation and the world at large. Stitching together scraps of wool\, silk\, linen\, and burlap as if they were brushstrokes\, he both invokes and questions the formal methodology of the stretched canvas and the painterly gesture. At first glance austere\, his assemblages are rife with visual wisecracks and wry\, materialist critiques. \n  \nFor this latest exhibition\, Jensen continues his exploration of layering and removing as a process. Oil paint\, applied with varying thickness and technique\, neither conceals nor transcends the sewn canvas. Instead\, it is cannibalized into the canvas to form a hybrid surface-object that mobilizes texture\, dimension\, and opticality all at once. What emerges is a series of works that take up the atmospheric qualities of light—a night spent on the terrace\, a concert\, the sun coming through the curtain\, a lamp in the evening\, a piece of plastic\, an askew projection. \n  \n“The materials in Jensen’s work take on a life of their own and come to define the picture. The visible traces become painterly gestures\, and painterly gestures appear to be traces. Front sides turn into backs\, below into above\, right into left. The picture itself determines the composition. The apparent autarky of the works lends them a hint of character\, and so the impression is not far off that it is not just us looking at the pictures: they are observing us\, too.” \n  \n— Susanne Pfeffer\, “Sergej Jensen’s Cinema of Titles” in Sergej Jensen (Distanz\, 2011)
URL:https://artinamericaguide.com/event/sergej-jensen-the-adult-light/
LOCATION:Regen Projects\, 6750 Santa Monica Boulevard\, Los Angeles\, CA\, 90038\, United States
CATEGORIES:Exhibition
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DTEND;VALUE=DATE:20220821
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SUMMARY:James Welling: ‘Iconographia’
DESCRIPTION:Regen Projects is pleased to present Iconographia\, James Welling’s eleventh solo exhibition with the gallery. \n  \nFor Iconographia Welling’s camera becomes a time machine\, reanimating images of Greek and Roman busts. The exhibition debuts these Personae\, as well as a selection of images from his Cento series. Welling has used the camera as a vehicle to “time travel” in previous bodies of work such as Diary/Landscape\, Seascape\, Wyeth\, Buildings by H. H. Richardson\, Glass House\, and Maison de Verre\, but rarely with the emotional intensity of this latest exhibition. The exhibition’s title\, Iconographia\, refers to a seventeenth-century portfolio of intaglio portraits made by Flemish painter Anthony van Dyck. \n  \nIn the artist’s own words: \n  \n“While making Cento\, my ongoing series of photographs of sculptures and artifacts from the ancient Mediterranean region\, I discovered the celebrated Korai sculptures in Athens. I reanimated one\, Kore 674\, by inserting green eyes\, borrowed from an Édouard Manet painting\, into her stone face and by coloring her hair bright red. This first head became the template for the process wherein I made Personae. I source eyes\, jewelry\, and clothing from old master paintings and then do the hair and make-up as I wish. The individuals depicted in Personae are primarily Roman with a few persons from ancient Greece\, Egypt\, Syria\, and North Africa.”
URL:https://artinamericaguide.com/event/james-welling-iconographia/
LOCATION:Regen Projects\, 6750 Santa Monica Boulevard\, Los Angeles\, CA\, 90038\, United States
CATEGORIES:Exhibition
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DTSTART;TZID=America/Halifax:20220305T190000
DTEND;TZID=America/Halifax:20220305T193000
DTSTAMP:20260403T230011
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SUMMARY:Performance by Abraham Cruzvillegas
DESCRIPTION:PERFORMANCE \nSaturday\, March 5\, 7:00 pm \nRegen Projects \nLos Angeles\, CA \nOn the occasion of the opening reception of Abraham Cruzvillegas: Tres sonetos\, the artist will activate his sculptures with a rhythmic recitation of three poems by Concha Urquiza.
URL:https://artinamericaguide.com/event/performance-by-abraham-cruzvillegas/
LOCATION:Regen Projects\, 6750 Santa Monica Boulevard\, Los Angeles\, CA\, 90038\, United States
CATEGORIES:Event
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DTSTART;VALUE=DATE:20220305
DTEND;VALUE=DATE:20220424
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SUMMARY:Sue Williams
DESCRIPTION:Sue Williams \nMarch 5 – April 23\, 2022 \nPress preview: Saturday\, March 5\, 11:00 am \nOpening reception: Saturday\, March 5\, 6:00 – 8:00 pm \nGallery hours: Tuesday – Saturday\, 10:00 am – 6:00 pm \n  \nRegen Projects is pleased to present an exhibition of new paintings by New York-based artist Sue Williams. In her seventh solo presentation with the gallery since 1992\, Williams presents a group of works in which formal ingenuity hovers at the margin of abstraction and representation. \n  \nAttending CalArts in the 1970s where she studied under John Baldessari\, among others\, Williams broke onto the art scene in the late 1980s with abrasively political and mordantly funny paintings that combined figuration with feminist cultural critique. Her work hasundergone a number of stylistic shifts since that time\, adopting a relatively abstract and lyrical approach in which bright colors and buoyant forms act as foils to darker undercurrents in her work. As curator Lionel Bovier remarks\, this quality points to “the limits of what can be represented and figured out\, the fringes where forms only mark the temporary organization of the chaos of the real\, and where the subject is constantly threatened by the return of the repressed.” \n  \nIn her newest compositions\, Williams achieves a delicate balance between density and sparseness\, combining line-drawn figures with expressive marks and bursts of color. Radically nonhierarchical\, the raucous array of imagery\, line\, and color in these paintings appears unbound by distinctions between high and low\, foreground and background\, or any sense of visual primacy. This allover quality subtly gestures towards Abstract Expressionism\, even as Williams dismantles the movement’s infatuation with masculine seriousness and artistic genius through invocations of populist forms like illustration and cartoon. Her commitment to raw\, gestural immediacy perhaps belies the complex network of marks she orchestrates in her compositions\, producing an impression of movement and understated depth. \n  \n“The machismo-laden history of modern painting that has been handed down to us has largely failed to account for feminists with formal concerns\, but Williams has continuously short-circuited our reliance on such categories to understand what we’re looking at. …Formalism doesn’t erase feminism. She deals with the male-dominated history of American modernist painting not by positioning herself in opposition to it\, but by giving it the finger\, not playing on its terms. …She is showing us that these restrictive categories do not hold. The work is a messy space where things don’t have to get cleaned up; all of it can hang in suspension. She is showing us the rebelliousness of being a feminist and a formalist.” \n  \n— Ashton Cooper\, “Sue Williams” in ArtReview\, 2017 \n  \n  \nSue Williams (b. 1954\, Chicago Heights\, IL) received her BFA from the California Institute of the Arts. She lives and works in Brooklyn. \n  \nWilliams’s work has been the subject of numerous museum exhibitions worldwide including Institut Valencià d’Art Modern; Vienna Secession; Staatliche Kunsthalle Baden-Baden; Kunstlerhaus\, Graz; and Centre d’Art Contemporain\, Geneva; among others. Her work is included in major museum collections such as Art Institute of Chicago; Centre d’Art Contemporain Geneva; Dallas Museum of Art; The Broad\, Los Angeles; Hirschhorn Museum and Sculpture Garden\, Washington DC; Institut Valencià d’Art Modern; Museum of Contemporary Art\, Los Angeles; Museum of Contemporary Art San Diego; Museum of Modern Art\, New York; National Museum of Modern and Contemporary\, Seoul; New Museum\, New York; San Francisco Museum of Modern Art; Santa Barbara Museum of Art; Seattle Art Museum; Whitney Museum of American Art\, New York; among others. \n  \nAn opening reception for the artist will be held on Saturday\, March 5 from 6:00 – 8:00 pm. \n  \nFor all press inquiries\, please contact Elizabeth Gartner at +1 310 276 5424 or elizabeth@regenprojects.com. \n  \nFor all other inquiries\, please contact Jennifer Loh\, Stephanie Dudzinski\, or Bryan Barcena at Regen Projects.
URL:https://artinamericaguide.com/event/sue-williams/
LOCATION:Regen Projects\, 6750 Santa Monica Boulevard\, Los Angeles\, CA\, 90038\, United States
CATEGORIES:Exhibition
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DTSTART;VALUE=DATE:20220305
DTEND;VALUE=DATE:20220424
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SUMMARY:Abraham Cruzvillegas: Tres sonetos
DESCRIPTION:Abraham Cruzvillegas \nTres sonetos \nMarch 5 – April 23\, 2022 \nPress preview with the artist: Saturday\, March 5\, 11:00am \nOpening reception: Saturday\, March 5\, 6:00 – 8:00 pm \nGallery hours: Tuesday – Saturday\, 10:00am – 6:00 pm \n  \nPERFORMANCE \nSaturday\, March 5\, 7:00 pm \nOn the occasion of the opening reception\, the artist will activate his sculptures with a rhythmic recitation of three poems by Concha Urquiza at Regen Projects. \n  \nRegen Projects is pleased to present an exhibition of new works by Abraham Cruzvillegas. For his third solo presentation at Regen Projects\, Cruzvillegas takes inspiration from the work of Mexican poet Concha Urquiza to create an all-new series of drawings\, paintings\, and sculptures all produced on-site during the installation of the exhibition. \n  \nOver the past decade Cruzvillegas has continually explored the ways in which his life and experiences can find representation in physical form. His humorous but incisive takes on identity often employ animal avatars to draw out similarities between humans and other species\, particularly primates. In a new series of drawings\, the artist’s own photographic likeness serves as the basis for such investigations. Thin textiles printed with images of his face act as canvases that Cruzvillegas will embellish with designs rendered in bold colors. Employing a similar formal language\, the artist will also present a group of large-scale calligraphic paintings. Composed flat on the gallery floor\, he will use a mop or broom to apply paint in loose\, expressive gestures that serve as records of their performative nature and translate from the rhythms and tones of the poems of Concha Urquiza into abstract form. \n  \nCruzvillegas’s practice is guided by an aesthetic and conceptual ethos he terms autoconstrucción. Literally meaning “self-construction\,” it is inspired by ad hoc and collaborative popular building methods common to urban Mexico\, in particular the Ajusco neighborhood of Mexico City where he was raised. Continuing his interest in functional form\, the artist has designed three new structures that will serve at once as sculpture\, platform\, and gallery seating. Taking rudimentary geometric shapes and primary colors as their basis\, these new works expand on sculptures first showcased in the artist’s recent presentation Agua dulce at the Bass Museum\, Miami Beach. For this exhibition\, they will become elements of a performance taking place at the gallery on the occasion of the opening reception\, where they will serve as platforms for a rhythmic reading by Cruzvillegas of three of Urquiza’s poems. \n  \n  \nAbraham Cruzvillegas (b. 1968\, Mexico City\, Mexico) earned a BA in pedagogy from Universidad Nacional Autónoma de México in Mexico City in 1990. From 1987–1991 he participated in Gabriel Orozco’s workshop\, known as Taller de los Viernes\, or The Friday Workshop\, alongside Damián Ortega\, Gabriel Kuri\, and Jerónimo “Dr. Lacra” López. From 2018–2021\, he taught sculpture at l’École Nationale Supérieure des Beaux-Arts in Paris. He lives and works in Mexico City. \n  \nCruzvillegas’s work has been shown in solo exhibitions worldwide including\, most recently\, Agua dulce\, Bass Museum of Art\, Miami Beach (2020–2022); Song\, La Maison de Rendez-Vous\, Brussels (2020); Tautología sin Título\, Galería Macchina\, Pontificia Universidad Católica de Chile\, Santiago (2019); The Ballad of Etc.\, The Arts Club of Chicago (2019); Hi\, how are you\, Gonzo?\, The Contemporary Austin and Aspen Art Museum (2019); Autorreconstrucción: Social Tissue\, Kunsthaus Zürich (2018); The Water Trilogy 3: Autoconclusion: Ideologically Inconsistent Identity: Jetties\, Gutters & Urinals\, Museum Boijmans Van Beuningen\, Rotterdam (2017); The Water Trilogy 2: Autodefensión Microtonal Obrera Campesina Estudiantil Metabolista Descalza\, Fondation d’entreprise Hermès\, Tokyo (2017); Abraham Cruzvillegas: Approximating Vibrant Retroflex Self-Constriction\, Carré d’Art — Musée d’art contemporain\, Nîmes (2016); Autocontusión\, Scrap Metal\, Toronto (2016); Empty Lot\, Tate Modern\, London (2015); MALI in situ\, Museo de arte de Lima (2015); Autoconstrucción\, Museo Jumex\, Mexico City and Museo Amparo\, Puebla (2014); The Autoconstrucción Suites\, Haus der Kunst\, Munich (2014) and Walker Art Center\, Minneapolis (2013); among others. \n  \nHe has participated in the 2nd Biennale d’Architecture d’Orléans\, France (2019); Honolulu Biennial (2019); 21st Biennale of Sydney (2018); X Bienal de Nicaragua\, Managua (2016); 12th Sharjah Biennial\, United Arab Emirates (2015); 10th and 12th Havana Biennial (2009\, 2015); Shanghai Biennial (2012); Documenta13\, Kassel (2012); 12th Istanbul Biennial (2012); and the 50th Venice Biennale (2003). \n  \nCruzvillegas was the recipient of the 5th Yanghyun Foundation Yanghyun Prize (2012) and the Fundación Altadis Prix Altadis d’arts plastiques (2006). He was the artist in residence at the Deutscher Akademischer Austauschdienst (DAAD) (2010–2011); Capp Street Project at CCA Wattis Institute for Contemporary Arts (2009); Smithsonian Institution’s Artist Research Fellowship (2008); a joint resident at the Center for Contemporary Arts and Cove Park (2008); Civitella Ranieri Foundation (2007); Brownstone Foundation (2006–07); and Atelier Calder (2005). \n  \nAn opening reception for the artist will be held on Saturday\, March 5 from 6:00 – 8:00 pm. \n  \nFor all press inquiries\, please contact Elizabeth Gartner at +1 310 276 5424 or elizabeth@regenprojects.com. \n  \nFor all other inquiries\, please contact Jennifer Loh\, Stephanie Dudzinski\, or Bryan Barcena at Regen Projects.
URL:https://artinamericaguide.com/event/abraham-cruzvillegas-tres-sonetos/
LOCATION:Regen Projects\, 6750 Santa Monica Boulevard\, Los Angeles\, CA\, 90038\, United States
CATEGORIES:Exhibition
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DTSTART;VALUE=DATE:20210911
DTEND;VALUE=DATE:20211024
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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
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DTSTART;VALUE=DATE:20210327
DTEND;VALUE=DATE:20210523
DTSTAMP:20260403T230011
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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
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DTSTART;VALUE=DATE:20210327
DTEND;VALUE=DATE:20210523
DTSTAMP:20260403T230011
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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
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DTSTART;VALUE=DATE:20210116
DTEND;VALUE=DATE:20210314
DTSTAMP:20260403T230011
CREATED:20210107T155714Z
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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
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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
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ORGANIZER;CN="Regen Projects":MAILTO:elizabeth@regenprojects.com
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