Contemporary Art Daily

Felix Gonzalez-Torres at Wiels, Part 2

Pamela Rosenkranz at Karma International

Hayley Tompkins at Andrew Kreps

Hans-Peter Feldmann at Malmo Konsthall

“Che fare?” at Kunstmuseum Liechtenstein

Michaela Meise at Johann Koenig

Ei Arakawa at Galerie Neu

Gerda Scheepers at Mary Mary

Daido Moriyama at Luhring Augustine

Nora Schultz at Isabella Bortolozzi

Elad Lassry at Kunsthalle Zurich

Mike Kelley at Skarstedt

Ida Ekblad at Giti Nourbakhsch

Giuseppe Gabellone at Martin Janda

Katharina Wulff at Daniel Buchholz

Jordan Wolfson at Johann Koenig

Josh Smith, Sophie Van Hellermann at Museum Dhondt-Dhaenens

Brendan Fowler at Rental

Monika Baer at Barbara Weiss

Gilberto Zorio at MAMbo

Richard Aldrich at dépendance

David Zink-Yi at Johann Koenig

William J. O’Brien at Marianne Boesky

Seth Price at Capitain Petzel

Günther Förg at Barbel Graesslin

“Non-solo show, Non-group show” at Kunsthalle Zurich

John Miller at Christian Nagel

“Primary Atmospheres” at David Zwirner

Lin May and Jens Ullrich at Jacky Strenz

Balice Hertling c/o MD 72

Margarete Jakschik at Gisela Capitain

Artist: Ari Marcopoulos

Location: 2nd Floor, Whitney Biennial 2010

Detroit, 2009, by Ari Marcopoulos is a large video projection in a black room on the second floor. About seven and a half minutes long, the work documents adolescent participants in Detroit, Michigan’s “noise rock” scene improvising music on the floor of a bedroom. The approach to the subjects is straightforward and plain, allowing a focus on content rare in the rest of the Biennial.

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Artist: Richard Aldrich

Location: 4th Floor, Whitney Biennial 2010

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Three works by Richard Aldrich constitute the most unexpected element in this year’s biennial. Aldrich, capable of producing elegant, seductive and largely abstract paintings, instead opts to throw a wrench in the common understanding of his practice. The artist’s contradictory impulses (vulnerability and apathy, traditionalism and contrarianism, for example), usually couched in the language of painting, are foregrounded. The result is either exciting or frustrating, especially for his admirers.

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Artist: R. H. Quaytman

Location: 4th Floor, Whitney Biennial 2010

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A careful selection of paintings by R. H. Quaytman fill a small room on the fourth floor that is dominated by a bright, trapezoid-shaped window. The outline of that window is a recurring figure in some of the paintings, part of a layering of references that acknowledge the exhibition venue, the artistic and historical context of the artist’s work, and the optical condition of all visual art but especially of painting.

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Artist: Robert Grosvenor

Location: Second Floor, Whitney Biennial 2010

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New York artist Robert Grosvenor’s installation is comprised of two sculptures that resemble outdoor structures, specifically a bridge and a fence. Hand made from materials that look mass-produced, the works together produce an eerie feeling that is surprising given their color and the even, bright lighting. In an exhibition full of esoteric work, Grosvenor’s is especially compelling.

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Artist: Pae White

Location: 3rd Floor, Whitney Biennial 2010

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Los Angeles-based Pae White’s single work in the Biennial, Untitled, Still, 2010, is a massive cotton tapestry depicting white smoke.  The interpretation in an explanatory paragraph draws a simple contrast between the airy white smoke and the rigid weave of the tapestry, a spectrum of material with raw cotton approximately at its center.

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Tetsumi Kudo at the Walker Art Center

Heimo Zobernig at Chantal Crousel

Jan Timme at Christian Nagel

Sigmar Polke at Michael Werner

Hans-Peter Feldmann at Simon Lee

Michael Riedel at Francesca Pia

Henning Bohl at Casey Kaplan

Monika Sosnowska at Capitain Petzel

Haim Steinbach on Mike Kelley at Overduin and Kite

Richard Aldrich at Bortolami

Katharina Grosse at Temporare Kunsthalle Berlin

Venice: James Lee Byars at the Palazzo Pesaro Papafava

Dana Hoey at Friedrich Petzel

Tobias Rehberger at Barbel Graesslin

Josh Smith at Luhring Augustine

Richard Artschwager at Sprueth Magers

Jutta Koether at Daniel Buchholz

Gabriel Kuri at Franco Noero

John Baldessari at Mai 36

Liz Deschenes at Miguel Abreu

George Condo at Xavier Hufkens

Jordan Wolfson at T293

Michaela Meise at Richard Telles

Claudia Wieser at Sies + Höke

Wallace Berman at Frank Elbaz

Jean Dubuffet at Pace Wildenstein

Angela Bulloch at Cristina Guerra

Philippe Decrauzat at Francesca Pia

Georg Herold at Contemporary Fine Arts

Nikolas Gambaroff, Ei Arakawa at Balice Hertling

Charline von Heyl at Capitain Petzel

The Palazzo at the Giardini is a large exhibition hall at one end of the Giardini, the garden home of the national pavilions, in Venice. The Palazzo is one of the two main venues for the survey component of the Biennale, and includes a frantic-looking cafe designed by Tobias Rehberger. Curated by the director of this year’s Biennale, Daniel Birnbaum, the exhibition is called “Making Worlds” and includes a wide variety of artists.

There were many compelling sections of the Palazzo, but we’ve broken down nine key selections into three parts. Part 3 features contributions by Blinky Palermo, Simon Starling and Tony Conrad.

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“Himmelsrichtungen” by Blinky Palermo was originally made in 1976 and reconstructed for “Making Worlds” this year. Four colored plastic panels are mounted high in the corners of a small, brick-walled room on black I-beams. A few documents hung on the wall documenting the original installation and it’s production. It’s a welcome grounding for the rest of the show, and a sensitive articulation of the exhibition’s theme.

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Tony Conrad filled a tall room with paintings on unstable paper. The slow yellowing of the paper is related to experimental film.

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Simon Starling included a film installation, a big projector with an elaborate spiral of arms holding the film. The black and white film showed footage of what looked like various stages of production of the projection apparatus.

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Note: There were no press images documenting the exhibition immediately available, so the photos are all by Contemporary Art Daily. We apologize for any poor quality, as we do not have access to a professional photographer.

Full gallery of images available after the jump.

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Artist: James Lee Byars

Venue: Palazzo Pesaro Papafava, Venice

Exhibition Title: James Lee Byars Lived Here

Date: June 4 – July 5, 2009

Note: There were no press images documenting the exhibition immediately available, so the photos are all by Contemporary Art Daily. We apologize for any poor quality, as we do not have access to a professional photographer.

Full gallery of images, press release and link available after the jump.

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The Palazzo at the Giardini is a large exhibition hall at one end of the Giardini, the garden home of the national pavilions, in Venice. The Palazzo is one of the two main venues for the survey component of the Biennale, and includes a frantic-looking cafe designed by Tobias Rehberger. Curated by the director of this year’s Biennale, Daniel Birnbaum, the exhibition is called “Making Worlds” and includes a wide variety of artists.

There were many compelling sections of the Palazzo, but we’ve broken down nine key selections into three parts. Part 2 features contributions by Hans-Peter Feldmann, Nathalie Djurberg and Guyton/Walker.

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“Shadow Play” by Hans-Peter Feldmann used spotlights and rotating platforms covered with everyday objects to generate a shifting landscape of shadows on the wall. Like much of Feldmann’s work, the installation is striking for it’s beguiling plainness.

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Nathalie Djurberg, who won the Silver Lion award for best young artist at the Biennale, fowarded a dark installation: three of her signature disturbing stop-motion animations projected in a garden of monstrous plants.

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Guyton/Walker is a collaborative project by Wade Guyton and Kelley Walker. Their installation for the entryway to the Palazzo applies the pair’s usual mode, a combination of the two artists’ approaches to image making applied to the production of printed objects: canvases, panels of dry wall, paint cans, shipping crates. There is a deft, insider wit about much of the work, which draws heavily from Pop Art and has a fruity, rainbow-colored visual aesthetic.

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Note: There were no press images documenting the exhibition immediately available, so the photos are all by Contemporary Art Daily. We apologize for any poor quality, as we do not have access to a professional photographer.

Full gallery of images available after the jump.

More…