Kathleen Ryan, Frequency (detail), 2018. Courtesy the artist and Ghebaly Gallery, Los Angeles
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.
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.
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
MATERIAL ART FAIR
8-11 February, 2018
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.