As a teenager, Mitchell spent a lot of time on Tumblr, a social media platform utilised by young photographers as a space to share their work. It’s a period of time which would become heavily influential on his vision, as Mitchell explained, “I would very often come across sensual, young, attractive white models running around being free and having so much fun – the kind of stuff Larry Clark and Ryan McGinley would make. I very seldom saw the same for black people in images – or at least in the photography I knew of then.”
In Idyllic Space – one of two video works in the exhibition – young black people enjoy simple pleasures, such as eating ice cream, hanging around the pool and playing tag. Mitchell cites the 2014 killing of Tamir Rice – a 12-year-old boy who was shot by Cleveland police while playing outside with a toy pellet gun – as an urgent call-to-action, Mitchell’s video installation highlights the mindless activities many of us take for granted, to the point of being overlooked, as a bold visual reminder that these moments have historically been denied or discouraged among black people.
Tyler Mitchell – I Can Make You Feel Good, Foam Fotografiemuseum Amsterdam
19 April – 5 June 2019
(c) Tyler Mitchell
Boys of Walthamstow, 2018
Kounellis moved from a written and pictorial language to a physical and environmental one, where the conceptual process became interwoven with elementary materials. The elitist, aseptic and authoritative language typical of the art world is replaced by a more expressive one based on the primacy of vital elements and a terrestrial relationship with art. Thus the use of organic and inorganic entities transformed his practice into corporeal experience, conceived as a sensorial transmission and investigation. In particular, the artist explored the sound dimension through which a painting is translated into sheet music to play or dance to. Already in 1960, Kounellis began chanting his letters on canvas, and in 1970 the artist included the presence of a musician or a dancer. An investigation into the olfactory, which began in 1969 with coffee, continued through the 1980s with elements like grappa, in order to escape the illusory limits of the painting, embrace the world of the senses and join with the virtual chaos of reality.
The retrospective is completed on the ground floor by documents 3⁄4including films, exhibition catalogues, invitations, posters and archival photographs3⁄4 that trace Kounellis’ exhibition history, and by a focus on his theater projects.
JANNIS KOUNELLIS at Fondazione Prada, Mosta Venezia
from 11 May to 24 November 2019
curated by Germano Celant
seen by Agostino Osio
courtesy Fondazione Prada
written Tagen Donovan
“Not That We Don’t” Chloe Wise
10th April - 18th May 2019 at Almine Rech Gallery, London
header The Tedious Matter of Personal Will, 2019 (c) Chloe Wise
others as displayed
At an official press conference in Pristina on 3 May 2019, the Director of Manifesta, Hedwig Fijen; the Mayor of Pristina, Shpend Ahmeti; the Director of Culture City of Pristina, Blerta Bosholli; and the Minister of Culture, Youth and Sport of the Republic of Kosovo, Kujtim Gashi; officially announced Pristina as the host city of Manifesta 14.
Conifera has been conceived in response to an open brief from COS, with the final structure a result of a parametric design process that has seen the installation evolve with each new technological and material innovation throughout its conception. The piece vertically integrates design and construction, forming a direct connection from design to build through a dialogue with robotics: the architect is at once designer and maker. Conifera’smodular form offers a legacy for the installation, with the piece able to be reformed in alternate configurations and in response to new contexts.
Visitors to Palazzo Isimbardi will be able to observe one of the Delta WASP (World Advance Saving Project) 3MT Industrial 3D printers used to fabricate each of the 700 bio-bricks that comprise the installation in action. The installation marks COS’s eighth consecutive installation during Salone del Mobile and itsfirst collaboration with Mamou-Mani.
Daniel Arsham (United States, 1980) is a New York-based artist whose work explores the realms of architecture, design, sculpture, film and fine art. Achieving his first success as a stage designer, Arsham and his architectural firm Snarkitecture quickly began collaborating with renowned artists, musicians, designers and brands. He is the first and only artist-in-residence at Adidas, and gained widespread fame following his recent collaboration with Pharrell Williams. A central element in Arsham’s work is the concept of fictional archaeology. He creates ambiguous spaces and situations, and conflates past, present and future by presenting millennial-era objects in calcified form. He is also interested in experimenting with the timelessness of symbolic objects and customs across different cultures. Arsham has received prestigious international awards for his work, which has been shown at MoMA PS1 in New York, the Museum of Contemporary Art in Miami, the Athens Biennale, the New Museum in New York, the Contemporary Arts Center in Cincinnati, the SCAD Museum of Art, Carré d’Art de Nîmes and the High Museum of Art in Atlanta, Georgia, among others.
written Julia Ahtijainen
illustrated Gary Chew
SPEED = messages, responses, feedback, information, execution, rigor, chronicle
CLUTTER = ideas, content, books, music, events, choices, pattern detection
UNPREDICTABILITY = accountability, flexibility, constant changes
DISTRACTION = information overload, concentration, mindfulness
FRAGMENTATION = the niches, subcultures, the big picture, cultural sensitivity
IDEOLOGY = critical thinking, competing, changing ideologies
61st International Leipzig (Germany) Festival for Documentary and Animated Film:
DOK LEIPZIG 29 OCTOBER – 4 NOVEMBER 2018