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HIKE, HACK / HIC et NUNC. Group show at Xpo Gallery. Paris


Installation view

Curated by NonPrintingCharacter for Xpo Gallery. Paris
Opening: October 9.

Exhibition website
Facebook event


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Through the screen. Solo show at Salón. Madrid


Brush Stock Paintings. Installation view.

Curated by Tolo Cañellas for Salón. Madrid
Opening: September 18.

Facebook event


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Speculative Materialism. Group show at Paradise / A space for screen addiction. Marseille



Artists: Camille Henrot, Pierre Huygue, Takeshi Murata and Manuel Fernández.

Curated by Charlotte Cosson & Emmanuelle Luciani.
Leclere. Maison de ventes aux encheres. 5 rue Vincent Courdouan 13006 Marseille.
Opening: June 30. 19:00 h.

Facebook event


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BG Paintings at Fotografía 2.0, official selection of PHotoEspaña 2014. Madrid



Curated by Joan Fontcuberta.

Artists: Albert Gusi, Alejandro Guijarro, Arturo Rodríguez, Daniel Mayrit, Darius Koehli, Diego Collado, Fosi Vegue, Jon Uriarte, Jordi V. Pou, Juana Gost, Laia Abril, Manuel Fernández, Miguel Angel García, Miguel Ángel Tornero, Noelia Pérez, Oscar Monzón, Pablo Chacón, Reinaldo Loureiro, Roc Herms, Txema Salvans.

Círculo de Bellas Artes. Sala Picasso. Madrid. Until: August 31.

Fotografía 2.0. PHotoEspaña 2014

"Photography 2.0 explores the changes taking place in Spanish photography in the context of mass image production, globalization and post-capitalism.

Joan Fontcuberta surveys the work of around twenty photographers born after 1970 who share a critical view of the new situation

The earliest photographers grew up in the visual culture of painting; later generations took cinema—and then TV—as their visual reference. Now Internet has burst onto the scene as a universe that shapes contemporary perspectives. A universe characterised by an endless flow of images.

This mass production of photographs may be regarded as an effect of post-capitalism and globalization, prompted by a succession of technological and cultural innovations. The new context has rewritten the rules of the image game. The values of “solid” photography underpinned by the techno-scientific culture and the industrial economy of the nineteenth century have been replaced by those of “liquid” photography, based on the virtual culture and information economies of the twenty-first century.

Photography 2.0 focuses on these changes through an examination of the situation in Spain, where a whole new wave of young photographers are currently engaged in a critical appraisal of the new situation. The exhibition comprises three sections. The first addresses the banalisation of the photographic act, the cortex of reality shows, unbridled voyeurism and loss of privacy. The second session looks at formulations of social identity, biographical narratives and personal fictions, in the light of new digital tools. The final section explores the “technological unconscious” of post-photography, the accidents and fissures that are artistically recycled to provide an innovative aesthetic vocabulary."


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Notre Itinéraire. Group show at Espace Verney-Carron. Lyon



Image: Tracking la deriva, Lyon. GPS performances in six city districts. 6 graphite on A4 paper documentation drawings. 2014.

Documentation

Espace Verney Carron. Lyon.
May 16 to August 8, 2014.

With the works of Aram Bartholl Cesar Escudero Andaluz, Hassan Darsi, Manuel Fernandez, Baby Isek Kingelez Florent Lagrange, Simon Nicaise, Jean-Christophe Nourisson, Evan Roth, Vaan and Addie Wagenknecht.

Curated by Alexis Jakubowicz.

"It calculates, seeks, to trace, stops, continues. The route is the text in a way, a road to follow to get from one place to another. It is in the performance between the plan and wandering, sometimes intentionally and sometimes loss. Acceptance in the public space or territory increased over networks, the route covers the estate or the accumulation of visits that fail in history. It is then said navigation.

Information networks are now in the image of our cities and vice versa: public transport. They spoof a day through their screens million zyeutants, broken in the subway to the practice of GPS or audio-guide. Distance is no longer necessary to experience the territory and under the omnipotence of Google traveling à la carte.
Homo informaticus comes and goes from the street to the screen without application shows. It is organized to receive information prior to perceive the presence of the other. It heats or his body or his mind, deprived of the sense of direction, is prohibited tropism, intuition and wandering, the energy of pleasure.

"Our route" describes this phenomenon of increased public space IRL - In Real Life - the URL space, housed in a cloud that is missing yet there. Our route is also of Georges Verney-Carron, who committed 30 years for the reconciliation of art and public space, today finds the digitization of these social issues, aesthetic, political and architectural. Facebook, Google, eBay are like our places, our stations and our museums, public places built for the exchange and linger, sometimes diverted into confrontation. "Our route" is the critical last button that we click, like Mappy to move forward."


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Decenter Catalog



Nicholas O'brien interviews:

Cory Arcangel, Michael Bell-Smith, James Bridle, Douglas Coupland, Jessica Eaton, Manuel Fernández, Sara Ludy, Yoshi Sodeoka, Sara Vanderbeek and Letha Wilson.

read the full interview

"In the 1913 Armory Show, the Association of American Painters and Sculptors endeavored to showcase the “New Spirit” of modern art. On its 100th anniversary, we will celebrate the Cubist paintings and sculptures in its galleries with an exhibition curated by Andrianna Campbell and Daniel S. Palmer featuring 27 contemporary artists at Henry Street Settlement’s Abrons Arts Center (466 Grand St, NYC) from February 17 – April 7, 2013, and then again at The George Washington University Luther W. Brady Art Gallery (805 21st Street, N.W., DC) from September 11 – December 20, 2013.

Their artworks explore changes in perception precipitated by our digital age, and closely parallel the cubist vernacular of fragmentation, non-linearity, simultaneity, and decenteredness.

Our exhibition poses the question: What is the legacy of Cubism in the hundred years since the Armory Show’s radical display of modern European and American art, and especially, how has this become relevant again in our digital age? The show will exhibit a group of artworks in the gallery, and also feature a corresponding internet component of digital works in an online gallery, which have been organized based on a system of artists inviting other artists whose work they admire (shown in black boxes, linked to the artists who have invited them). This digital portion of the exhibition will grow in a process that highlights the diversity and expansiveness of the 1913 show’s legacy as it relates to our world today."