Ceramics have been used by different cultures over time, among other things, as a narrative tool. In the work of Eduardo Sarabia, ceramics has become one of the mainstays for interweaving traditional elements, with issues such as social and natural survival, and activities that intersect with illicit economies. Thus, different types of motion, flow, and exchange that are intertwined in everyday cultural processes are announced by his work.
Eduardo Sarabia, 2016, courtesy of the artist
"Eduardo Sarabia: Feathered Serpent and other festivities" is the latest installation conceived by the artist from a personal fascination for the quetzal. In pursuit of this bird, ancestrally surrounded by countless myths, Sarabia made a trip to the Biosphere del Triunfo, in Chiapas, where from exchanges with local passed through his hands a pen quetzal from the black market. Taking this and other experiences that unfolded from that point, Sarabia's project poses a tribute to feather art. The known Penacho de Moctezuma was made not only with quetzal feathers but also with feathers of the other three birds contained in this celebration: Blue cotinga, squirrel cuckoo, spatula pink.
The top of a ceiba – sacred tree for cultures prehispanic, commonly planted in the streets of their cities – was, according to one of the legends of the Popol Vuh, a dwelling for the gods who lived as quetzal. Ceiba trees, framed as different times throughout the facility, introduced the dance of spiritual characters, deities masked, concerning political parties and some objects more, referring to new mythologies and rituals around the lair of these birds. "Feathered Serpent and other festivities" is a suggestive montage of possible paths and border economies around a taxidermy collection that bring together about 300 birds endangered species, including the quetzal.
From 30 July, 2016 Museo Tamayo Paseo de la Reforma 51, Bosque de Chapultepec, Mexico City
Other Criteria Pop-Up returns to Samuel Owen Gallery this summer. Our pop-up exhibition will feature signed prints by Damien Hirst including rare prints from his unfamous Spot and Utopia series. Unique works on paper and small butterfly canvases will also be on show.
Seattle Art Fair was founded by Paul G. Allen as a unique and innovative art experience showcasing the vibrant culture and diversity of the Pacific Northwest. In addition to being a destination for new and established collectors and international art patrons, the fair shines a light on Seattle’s thriving art scene. Now in its second year, the fair features local, regional, and international art galleries presenting top-tier modern and contemporary art.
Seattle Art Fair, presented by AIG, shares exhibitor highlights, along with specific times of performances in its Projects and Talks program for its second edition, running August 4-7 at CenturyLink Field Event Center. The Seattle Art Fair 2016, co-produced by Paul G. Allen’s Vulcan Inc. and Art Market Productions, will feature over 80 exhibitors. The fair will kick off with the Beneficiary Preview, proceeds benefitting the Seattle Art Museum (SAM), on Thursday, August 4 at 5:30pm, followed by the official Opening Night Preview starting at 8:30pm. The fair continues August 5-7, with a diverse schedule of projects, talks, and events happening both on and off site.
“The second edition of the Seattle Art Fair will see some of the most important artists in the world, represented by the most highly regarded galleries working today,” said Max Fishko, Seattle Art Fair director and managing partner of Art Market Productions. “We are excited to mount an exhibition as unique, diverse, and beautiful as the city itself.”
The Seattle Art Fair has established itself as a boutique fair where collectors can acquire some of the best art in the world in an intimate setting, and is an essential destination on the art world calendar. The 2016 fair will include some of the most prestigious galleries worldwide, from such cities as Chicago, Dallas, Los Angeles, Miami, New York, Portland, Seattle, San Francisco, Paris, Cologne, Seoul, Buenos Aires, Tokyo, and beyond.
Harland Miller, Blonde But Not Forgotten Unique painting, 2016
A new exhibition, curated by Mo’Wax and UNKLE founder, artist and musician James Lavelle, featuring a host of contemporary artists, film makers and musicians showcasing works inspired by Stanley Kubrick.
Adam Broomberg & Oliver Chanarin / Carl Craig / Charlotte Colbert / Chris Levine / Christiane Kubrick / David Nicholson / Dexter Navy / Doug Foster / Doug Aitken / Futura / Gavin Turk /
Harland Miller / Haroon Mirza & Anish Kapoor / Iain Forsyth & Jane Pollard / Invader / Jamie Shovlin / Jane & Louise Wilson / Jason Shulman / Jocelyn Pook / John Isaacs & James Lavelle with Azzi Glasser / Jonas Burgert / Joseph Kosuth / Julian Rosefeldt / Keaton Henson / Koen Vanmechelen / Marc Quinn / Mark Karasick / Mat Chivers / Mat Collishaw / Max Richter / Michael Nyman / Mick Jones / Nancy Fouts / Nathan Coley / Norbert Schoerner / Paul Fryer / Paul Insect / Peter Kennard / Philip Castle / Philip Shepherd / Pink Twins / Polly Morgan / Rachel Howard / Rut Blees Luxemburg / Samantha Morton & Douglas Hart / Sarah Lucas / Seamus Farrell / Stuart Haygarth / Thomas Bangalter / Toby Dye / Warren du Preez & Nick Thornton Jones
Participating artists have been invited to respond to a film, scene, character or theme from the Kubrick archives, shining new perspectives onto the cinematic master’s lifework. James Lavelle is collaborating with contemporary musicians and composers to produce a soundtrack to some installations creating a multi-disciplinary experience for the visitor.
Rachel Howard, Darkness and Light, 2015 Oil on canvas, 84 x 84”
Pioneering conceptual artist Joseph Kosuth will create an installation of text from Kubrick's films based on the language of Kubrick's work, while Britain's foremost political artist Peter Kennard will juxtapose images of characters set in the War Room of
Dr Strangelove with present day leaders of nuclear states, in a statement about the renewal of Trident. Inspired by the Stargate sequence in 2001: A Space Odyssey, film maker Doug Foster will invite visitors to experience an endless, widescreen tunnel and referencing the same film, Mat Collishaw will make a spaceman’s helmet featuring otherworldly sights and sounds.
Doug Aitken will provide ‘Twilight’, a public pay phone bathed in a luminous glow, which will be reminiscent of the
Dr Strangelove scene where Mandrake attempts to make a collect call to the President of the United States. Sarah Lucas will lend ‘Priapus’, a phallic sculpture suggestive of the iconic murder weapon in A Clockwork Orange.
The exhibition is supported by artist Christiane Kubrick, the director’s wife of 41 years, who will be exhibiting a painting and Jan Harlan, Kubrick’s Executive Producer for 28 years. It is additionally endorsed by Warner Bros. Pictures, who collaborated with Kubrick on all his films since 1971.
The exhibition is co-curated by James Putnam who was formerly founder curator of the British Museum's Contemporary Arts and Cultures Programme and is currently Senior Research Fellow Exhibitions at University of the Arts, London (UAL) where the Stanley Kubrick archive is housed.
Somerset House, Strand, London WC2R 1LA 6 July – 24 August 2016
An installation by Korean American artist Michael Joo (b. 1966, Ithaca, N.Y.) will be exhibited in the Smithsonian’s Arthur M. Sackler Gallery Pavilion this year as part of the museum’s “Perspectives” contemporary art series. “Perspectives: Michael Joo,” on view July 2, 2016–July 9, 2017, will explore the migration patterns of Korean red-crowned cranes. The monumental installation consists of a canvas—nearly 13 feet tall and 10 feet wide—and a hanging sculpture.
The subject of these two new artworks, created specifically for the Sackler, are endangered red-crowned cranes, which are significant in Korean culture. The cranes freely migrate through the Korean Demilitarized Zone (DMZ)—a pristine ecosystem of 160 miles of unoccupied territory between North and South Korea. Joo employs a combination of painting, sculpture, photography, digital scanning, printmaking and crane specimens in his investigation of the birds’ movements.
“As a sculptor I have been preoccupied with spaces and the time it takes for us to move through them, how the things we bring to them—from ourselves, to our objects, to our intentions and perceptions of them—can expand, how we locate ourselves in the present,” Joo said.
In the large canvas installation, Joo uses a silver-nitrate method common in his work. The piece is silvered using a chemical process derived from early photographic techniques. He uses three-dimensional ornithological scans from the Smithsonian’s National Museum of Natural History, where he participated in a Smithsonian Artist Research Fellowship residency in 2012. The abstraction is a mirrored image of two collected crane carcasses, representing both their organic form and the geometric form of their storage container.
The sculpture portion of the installation consists of brass rods suspended from the Sackler Pavilion ceiling. The sculpture’s linear patterns outline the satellite-tracked migration patterns of the red-crowned cranes across Korea and the DMZ. Each rod is dependent on the other for balance, and their lines represent freedom and the inescapability of instinct.
During the year that this installation is on view, the natural light from the windows will interact with the silvered canvas and the sculpture’s lines. As natural light hits them, their appearance will change depending on the time of day and time of year.