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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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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
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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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