In Absentia (Deep Blue – White)” 2017, Courtesy of Night Gallery.

WANDA KOOP

FRIEZE NY
In Absentia
6 May – 8 May, 2018
New York, NY, USA

Koop’s expansive view became the inspiration for a series of paintings that depict the skyline in stark, spare shapes filled in with rich gradients. Through minimal but highly evocative forms, the viewer is able to discern skyscraper from sky, foreground from background, solidity from void. What appears at first glance as pure abstraction is in fact a careful composition of colors in an indexical relationship. We are left with an impression of the natural and the manmade in harmony, co-constituted, suggesting the sublime. 

 

Kathleen Ryan, Frequency (detail), 2018. Courtesy the artist and Ghebaly Gallery, Los Angeles

KATHLEEN RYAN

CC FOUNDATION AND ART CENTRE
Man Made Moon
23 March – 27 May, 2018
Shanghai, China

In Man Made Moon, Kathleen Ryan’s first solo exhibition in China, an arrangement of three sculptures, titled Frequency, Cool Breeze, and Bacchante, emphasizes Ryan’s ongoing interest in exploring the sculptural possibilities of materials like stone, iron, concrete, and clay. Drawing symbolic resonances from ancient Roman mythology, 1980s broadcasting technology, and the flora of Southern California, Ryan’s work is insistent on its physicality yet ultimately tied to the intangible weight of time and memory.

Benoît Maire, Origine du nombre, 2017. Courtesy of CAPC musée d’art contemporain de Bordeaux.

BENOÎT MAIRE

CAPC MUSÉE D’ART CONTEMPORAIN DE BORDEAUX
Thèbes
8 March – 2 September, 2018
Bordeaux, France

Bringing together nearly 80 works, Thebes represents a new chapter for Benoît Maire (born in Pessac, France in 1978) whose work, which stands at the crossroads of art and philosophy, is the result of a fictile materialization of his aesthetic theories. It expands on the reflections that Benoit Maire has conducted since 2008 around concepts of dispute. He explores, through a generalized economy of collage, points of disjunction and spaces of irresolution, that have been created through the meeting of objects and concepts, but also by the meeting of matter and thought. 

Caroline Monnet, Manifestipi, (installation detail) 2016 by ITWÉ Collective. Courtesy of ITWÉ and Collection Majudia. Photo by Joshua Voda, NMAI.

CAROLINE MONNET

THE NATIONAL MUSEUM OF THE AMERICAN INDIAN
Manifestipi
3 February – 25 March, 2018
New York, NY USA

The tipi, an iconic symbol and perhaps one of the most widely recognized structures of early life for Plains Indians, gets a space-age makeover in the newest installation at the Smithsonian’s National Museum of the American Indian, George Gustav Heye Center in New York. The installation is the creation of the ITWÉ Collective, a trans-disciplinary art collective dedicated to research, creation, production and education in the field of Aboriginal digital culture, based in Winnipeg and Montréal, Canada, and composed of Sébastien Aubin (Cree/Métis), Kevin Lee Burton (Swampy Cree) and Caroline Monnet (Anishnabe/French). 

Ed Fornieles Siva-leet (Televisa), 2018 and Fintlex (Netflix), 2018

ED FORNIELES

MATERIAL ART FAIR
Booth B24
8-11 February, 2018
Frónton, Mexico

Arsenal Contemporary is proud to present Ed Fornieles: The Finiliar, marking the artist’s first presentation in Mexico. Sculptures and LED screens together present an imagined brand, adapting the symbols of Japanese collectibles to examine the global circulation of capital.

The Finiliar’s existence is tethered to structures far beyond the control of any singular author, including the artist. Instead, its fate is predicated upon the data on which it relentlessly feeds—the perpetual flux of an unreliable market returned and reembodied as the creature’s psychological states.

For this presentation at Material Art Fair, Fornieles has created two new Finiliars, avatars of Televisa and Netflix, a traditional national media company and its global competitor. Each Finiliar’s health is inexplicably linked to the other’s as they vie for your attention, in and out of their art context, fighting to dominate in an already over-saturated market. In this sense, the Finiliars battle for survival, or at least an awkward co-existence, each aware that one’s success might lead to the other’s demise.