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There was a “Saturday Night Live” sketch not too long ago in which Kate McKinnon pretended to be Brigitte Bardot responding to the #MeToo movement. “Why does woman have breast? It’s for a man to grab and pull!” she said, taking a drag on her prop cigarette. “A drawer has a knob. A woman has two knobs!”.
Read MoreResting somewhere between dream and reality, Vanessa Brown’s sculptures test the boundaries of the familiar. What we normally encounter on a small scale, like a pair of earrings or a cigarette, take on impossibly strange proportions in her metal and glass works.
Read MoreBreasts stacked like frog’s eggs; the imprint of the artist’s arm or legs in motion as it progressively deconstructs the very sculpture representing it; plaster that captures the memory of her body leaning on or sitting in the confines of a space exploration habitat—these are the discoveries that await you in the uncanny world of Brazilian artist Juliana Cerqueira Leite.
Read MoreIn her new sculpture series, inspired by Mesoamerican funerary urns, Brazilian artist Juliana Cerqueira Leite has cast her own body in clay to make life-size vases with vaguely unsettling organic qualities.
Read MoreIt’s your last chance to catch this summer group show, featuring Abbas Akhavan, Maskull Lasserre, Ana Mendieta, and more. The theme is folkloric rituals associated with witchcraft.
Read MoreToday’s show: “A Kiss Under the Tail” is on view at Arsenal Contemporary in New York through Sunday, September 2. The group exhibition presents work by Ana Mendieta, Dena Yago, Abbas Akhavan, Latifa Echakhch, Maskull Lasserre, Virginia Lee Montgomery, Isabelle Cornaro, Michael Assiff, and Julia Feyrer.
Read MoreThe 4th edition of the International Digital Art Biennial (BIAN) wraps up this week, and per previous editions it did not lack in ambition. Drawing on the momentum built over the last six years, and – in particular – the excellent last, third edition, this BIAN was dedicated to the theme ‘AUTOMATA: Sing the Body Electric.’
Read MoreCreating new forms is a mission for me,” said Juliana Cerqueira Leite, “a way of not reasserting the world as it is, but of positing a transformation.” Leite’s sculptures testify to one’s ability to transmute the world around them.
Read MoreLa mission autour du potentiel créatif des technologies les plus avancées n’a pas changé depuis 2012. Le programme est toujours aussi touffu, les lieux de diffusion, aussi nombreux, le mariage expositions/spectacles, aussi… fastidieux.
Read MoreCréée en 2012 par Alain Thibault, la Biennale Internationale d’Art Numérique (BIAN) s’inscrit dans la continuité du festival Elektra initié en 1999. Elle s’articule autour de divers lieux incluant la Société des Arts Technologiques (SAT) et l’Arsenal Art Contemporain.
Read MoreL’aventure de cette quatrième édition de la BIAN de Montréal se poursuit à l’Arsenal où se tient la principale exposition intitulée Automata et dont le commissariat a été confié à Peter Weibel, fondateur du Zentrum für Kunst und Medientechnologie (ZKM) de Karlsruhe en Allemagne.
Read MoreELEKTRA showcases artists and works that fuse art and new technologies, and that are connected to current, contemporary aesthetics of research and experimentation.
Read MoreThe hybrid screening and performance by these two artists of native ancestry—Ortman is White Mountain Apache and Latimer is Algonquin/Métis—was a closing ceremony of sorts for Canadian artist Wanda Koop’s solo exhibition, “Standing Withstanding,” which is on view through July 1.
Read MoreStanding on the western edge of the North American continent, by the boats docked at a Vancouver Marina, Maskull Lasserre’s enormous steel sculpture takes a shape that most viewers might hardly recognize. This monumental single-horn anvil, 25 feet long, and about 800 times larger than a normal anvil is perplexing and mysterious.
Read MoreDe l’art 100% digital et avant-gardiste! Toutes les informations sur la 4e édition de la Biennale (BIAN), le 19e festival Elektra ainsi que le 12e Marché international d’art numérique sur elektramontreal.com.
Read MoreArtist Wanda Koop paints in a very lyrical way. She let’s the paint dictate the painting, not completely dissimilar from The Composition Series by Kandinsky. Using acrylic in a watered-down format, Koop has been making work for forty years. In that time, she has inherently studied the medium, how it responds to various surfaces, and how to work in a way that is freeing and uninhibited.
Read MoreLes organisateurs de la manifestation d'art numérique ont dévoilé, ce mardi 29 mai, les noms d'une première liste d'artistes qui se produiront dans le cadre de la 19e édition.
Read MoreA preeminent figure in contemporary Canadian art, Wanda Koop has been making waves stateside recently for her au courant paintings of silhouetted skylines that comment on the intersection between urbanism and the natural world.
Read MoreWalking through the space, an intimate and cool respite from the busyness of Bowery just outside, I couldn’t help but think about the impact of color, both in painting and in cultural conversations. Koop, a Winnipeg, Canada native, explains her relationship to cultural color early on: as a young girl, her family lived in close proximity to the Indigenous peoples of Winnipeg, and embraced one Native woman in particular as family.
Read MoreThere are two types of voices, according to the ancient Greeks: the articulated voice, phōnē énarthros, which is clear, and the confused voice, phōnē synkechyméne, where articulation is lacking,” says Benoît Maire.
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