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SUMMARY:David Claerbout : Dark Optics
DESCRIPTION:To mark the opening of the exhibition\, Claerbout will be in conversation with David E. Little\, Executive Director of the International Center of Photography\, on Tuesday\, April 26 at 6:30pm.
URL:https://artinamericaguide.com/event/david-claerbout-dark-optics/
LOCATION:Sean Kelly\, 475 Tenth Avenue\, New York\, NY\, 10018\, United States
CATEGORIES:Event
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SUMMARY:Shahzia Sikander: Weeping Willows\, Liquid Tongues
DESCRIPTION:SHAHZIA SIKANDER\n\n\n\n\n\n\n\nWeeping Willows\, Liquid Tongues \nNOVEMBER 5 – DECEMBER 19\, 2020 \nSean Kelly is delighted to announce Shahzia Sikander’s inaugural exhibition with the gallery and her first exhibition in New York City in nine years. Weeping Willows\, Liquid Tongues is an expansive\, in-depth look into Sikander’s recent work\, featuring the artist’s dynamic large-and-intimately-scaled drawings\, a captivating new single channel video-animation\, luminous\, intricate mosaics and her first ever free-standing sculpture. \nShahzia Sikander takes classical Indo-Persian miniature painting as the point of departure for her work. From premodern beginnings to contemporary influences\, it is precisely this historical continuum and its continuous capacity for reinvention that has sparked Sikander’s visually rich engagement in multiple media. The works in the exhibition explore tensions between power and powerlessness to present transformative ideas. Sikander’s interest in sociology\, psychoanalysis\, and the examination of how culture and society shape the imagination is all fodder for her work. The ways in which violence\, systemic racism\, class and cultural fears are deeply entrenched in media and political representations\, be it the fear of the unknown\, the migrant\, the immigrant\, the Muslim\, the LGBTQ community\, the ‘other’ and the various fault lines of race\, class and gender also intersect within her work. In this tangled web\, the extractive nature of capitalism appears to promise liberty and happiness\, but too often bestows debt and despair. These ideas are all explored in her new series of paintings The Shroud\, 2020 and Oil and Poppies\, 2020\, which emerged whilst the artist was researching symbols of extraction. \nSikander’s first major sculptural work\, Promiscuous Intimacies\, borrows its title from Gayatri Gopinath’s forthcoming essay on Sikander’s practice. This bronze sculpture\, with its sinuous entanglement of a Greco-Roman Venus and an Indian Devata\, explores in Gopinath’s words\, “the promiscuous intimacies of multiple times\, spaces\, art historical traditions\, bodies\, desires\, and subjectivities.” In their suggestive embrace\, the intertwined female bodies bear the symbolic weight of communal identities from multiple geographic terrains. They evoke non-heteronormative desires that are often cast as foreign and inauthentic\, and instead challenge the viewer to imagine a different present and future. The backward glance of the lower figure “demands that we understand ‘tradition\,’ ‘culture\,’ and ‘identity’ as impure\, heterogenous\, unstable\, and always in process\,” disrupting “taken-for-granted national\, temporal\, and art historical boundaries.” \nPresenting a comprehensive overview of Sikander’s films\, the exhibition will feature three animations: Parallax\, 2013\, Disruption as Rapture\, 2016\, and her most recent film\, Reckoning\, 2020. The new film\, made from multiple drawings\, reveals the cyclical theme of struggle through kinetic forms. In it\, Sikander considers the relationships between migrant-citizen\, conflict-erosion\, memory-myth\, warfare-fatality\, father-son\, and human – nature. The musical score accompanying Reckoning is written by the inimitable composer Du Yun\, awarded the Pulitzer in Music in 2017\, and features the Pakistani singer Zeb Bangash. Du Yun and Sikander’s decade-long collaborations (including Parallax and Disruption as Rapture) span Shanghai\, New York\, Sharjah\, Istanbul\, Hong Kong and Pakistan and speak to their ‘creative intimacy\,’ female agency and shared passion for finding common ground through multiple languages. \nWhile questioning the very concept of national culture\, Sikander provides deep aesthetic reflections on the history of colonialism\, capitalism and the formation of racialized identities in the present. Our ecological condition is a mirror of social conditions: erosion of climate\, borders\, rising waters\, rising heat\, and displacement of bodies amongst others. All resources are gathered in the rubric of monetization: language\, labor\, human intelligence and human attention. Sikander reimagines the United States’ foundational claims of freedom and liberty\, that were never applicable to all\, by presenting overlapping diasporas and using art to imagine the possibilities of a more just and livable future. Sikander’s work is not about hybridity. It is not fusing cultures or aesthetics. The multiple juxtapositions reflecting gender\, race\, class\, and language differences are arranged and rearranged to imagine visual forms that challenge fixed narratives and break binary thinking in all its forms. Sikander’s work is the antithesis of the fictions of purity and authentic national culture. \nSikander lives and works in New York City. Her innovative artistic practice led to her meteoric rise internationally in the mid-nineties with survey exhibitions at the Renaissance Society at the University of Chicago\, 1998\, the Kemper Museum of Contemporary Art 1998\, the Hirshhorn Museum and Sculpture Garden 1999\, and the Whitney Museum of American Art 2000. Sikander has had major solo exhibitions throughout the world\, including most recently at the Asian Art Museum\, San Francisco\, 2017; the Aga Khan Museum\, Toronto\, 2017; MAXXI | Museo nazionale delle arti del XXI secolo\, Rome 2016; the Asia Society Hong Kong Center\, Hong Kong\, 2016; the Guggenheim Museum\, Bilbao 2015; the Smithsonian American Art Museum\, Washington D.C. 2012; the Museum of Contemporary Art\, Tokyo\, 2010; the Irish Museum of Modern Art\, Dublin\, 2007; the Museum of Contemporary Art\, Sydney\, 2007; the Pérez Art Museum Miami\, 2005; and at the San Diego Museum of Art\, California\, 2004 amongst others. Sikander has been invited to participate in significant international biennials such as the Lahore Biennale 01\, Pakistan; the Karachi Biennale 17\, Pakistan; the 6th Moscow Biennale of Contemporary Art\, Manege\, Russia; the 8th and 13th Istanbul Biennial\, Turkey;  the 5th Auckland Triennial\, New Zealand; the Sharjah Biennale 11\, Sharjah Art Foundation\, UAE; the 54th and 51st International Art Exhibition of La Biennale di Venezia\, Italy; and The Whitney Biennial\, New York amongst others. In addition\, she has been included in notable group exhibitions at institutions such as the National Museum of Modern and Contemporary Art\, Seoul; Martin-Gropius-Bau\, Berlin; the Museum of Modern Art\, New York. Amongst the numerous awards\, grants\, and fellowships Sikander has received are the KB17 Karachi Biennale Shahneela and Farhan Faruqui Popular Choice Art Prize\, 2017; the Religion and the Arts Award\, 2016; the Asia Society Award for Significant Contribution to Contemporary Art\, 2015; the National Medal of Arts Award presented by U.S. Secretary of State\, Hillary Rodham Clinton\, 2012; the John D. and Catherine T MacArthur Foundation Achievement ‘Genius’ award\, 2006; and Tamgha-e-Imtiaz\, the National Pride of Honor Award presented by the Pakistani Government. \nShahzia Sikander will be the subject of a traveling retrospective titled Shahzia Sikander: Extraordinary Realities. The exhibition will open at The Morgan Library\, New York in June 2021 followed by the RISD Museum\, Rhode Island in November 2021\, and MFA Houston\, Texas in Spring 2022. On the occasion of these exhibitions\, there will be a major new monograph printed. Extraordinary Realities\, is an exhaustive examination of Sikander’s work from 1987 to 2003\, charting her early development as an artist in Lahore and the United States\, and foregrounding her critical role in bringing miniature painting into dialogue with contemporary art. Edited by Jan Howard and Sadia Abbas\, with contributions by Gayatri Gopinath\, Faisal Devji\, Kishwar Rizvi\, Sadia Abbas\, Jan Howard\, Vasif Kortun\, Dennis Congdon\, Bashir Ahmed\, Rick Lowe and Julie Mehretu. \nFor additional information on Shahzia Sikander please visit skny.com \nFor press\, please contact Adair Lentini at the gallery\, 212.239.1181 or via email at Adair@skny.com \nFor all other inquiries\, please contact Janine Cirincione at the gallery\, 212239.1181 or via email at Janine@skny.com
URL:https://artinamericaguide.com/event/shahzia-sikander-weeping-willows-liquid-tongues/
LOCATION:Sean Kelly\, 475 Tenth Avenue\, New York\, NY\, 10018\, United States
CATEGORIES:Exhibition
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SUMMARY:Joseph Kosuth: 'Existential Time"
DESCRIPTION:JOSEPH KOSUTH \n‘Existential Time’ \nSEPTEMBER 10 – OCTOBER 24\, 2020 \nSean Kelly is delighted to present ‘Existential Time’\, Joseph Kosuth’s eighth solo exhibition with the gallery. This presentation\, which approaches the problem of time and existence employing a selection of literary references\, brings together a series of new works throughout the main gallery. \nJoseph Kosuth\, one of the pioneers of Conceptual art and installation art\, has initiated language-based works and appropriation strategies since the 1960s. His work has consistently explored the production and role of language and meaning within art. His reflection on time stems from both a personal and philosophical concern with finding meaning within the various contexts and narratives life provides. It is thus also an investigation into the process of making meaning in artistic practice. Kosuth anchors and provides the tempo for the viewer/reader’s fluid experience of the exhibition through the use of the analogue clock. Time is thus referenced both literally and figuratively. \nKosuth removes the necessity of an objective shared truth while experiencing the work and highlights the freedom\, choice\, and responsibility inherent in everyday experience as well as in an artistic practice in general. The exhibition as a whole is a reflection on the gap that holds together beginnings and ends. Kosuth’s ‘Existential Time’ endeavors to punctuate the lack\, limits\, and surplus of meaning surrounding the narrative experience of time and life\, while exploring the powerful and finite territory of the present. Kosuth states\, “As artists we all begin to construct with what is given. We appropriate fragments of meaning from the detritus of culture and construct other meanings\, which are our own.” \nJoseph Kosuth lives and works in New York and London. Kosuth’s internationally recognized work has been the subject of solo exhibitions at institutions including the Multimedia Art Museum\, Moscow\, Russia; the Kunstmuseums Thurgau\, Warth\, Switzerland; Haus Konstruktiv\, Zurich\, Switzerland; the Australian Centre for Contemporary Art\, Melbourne\, Australia; and the Louvre Museum\, Paris\, France amongst others. He has also been invited to participate in numerous installations\, museum exhibitions\, and public commissions including Documenta V\, VI\, VII and IX (1972\, 1978\, 1982\, 1992) and the Biennale di Venezia in 1976\, 1993\, 1999 and 2007. Most recently\, in 2019 Kosuth installed a permanent public installation at the Miami Beach Convention Center\, Miami\, Florida and Bill Graham Civic Auditorium\, San Francisco\, California. His work is featured in major private and public collections including the Museum of Modern Art\, NYC; the Tate Gallery\, London; the Solomon R. Guggenheim Museum\, NYC; the Whitney Museum of American Art\, NYC; the Van Abbemuseum\, Eindhoven; the Stedelijk Museum\, Amsterdam; the Louvre Museum\, Paris\, France; the National Gallery of Victoria\, Melbourne; the Museum of Contemporary Art\, Sydney; the Centre Pompidou\, Paris; and the Galleria Nazionale d’Arte Moderna\, Rome amongst many others worldwide. \nFor additional information on Joseph Kosuth please visit skny.com \nFor press\, please contact Adair Lentini at the gallery\, 212.239.1181 or via email at Adair@skny.com \nFor all other inquiries\, please contact Cecile Panzieri at the gallery\, 212.239.1181 or via email at Cecile@skny.com
URL:https://artinamericaguide.com/event/joseph-kosuth-existential-time/
LOCATION:Sean Kelly\, 475 Tenth Avenue\, New York\, NY\, 10018\, United States
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SUMMARY:The Exhibition - Collect Wisely
DESCRIPTION:The Exhibition – Collect Wisely\, is a virtual presentation. Like the Collect Wisely podcasts\, the exhibition exists outside the aegis of the gallery and the artists it represents. Instead\, it is centered around artworks from the collections of our podcast participants\, among them Marieluise Hessel Artzt\, J. Tomilson Hill\, Rodney Miller\, Howard Rachofsky\, Gary Yeh\, and Tiffany Zabludowicz. The online exhibition includes images of work selected by each collector accompanied by comments explaining their choices. 
URL:https://artinamericaguide.com/event/the-exhibition-collect-wisely/
LOCATION:Sean Kelly\, 475 Tenth Avenue\, New York\, NY\, 10018\, United States
CATEGORIES:Exhibition,Virtual Events + Viewing Rooms
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