I would really like for for someone out in the feral expanse of worldwidewebdom to send me a copy of the book Enemies in Love by Alexis Clark. The tome is about the true story of a 23 year old Black nurse during WW2 who falls in love and later marries and has children with a 19 year old German POW.
Save the date of November 22, 2021 when I will have my first solo exhibition in Berlin at Galerie Isabella Bortolozzi. The name of the installation is The Wicked Pavillion and will take place at the main Isabella Bortolozzi space and its annex Eden Eden. Stay tune for more info as it develops but below are some other Famiglia Bortolozzi events:
Galerie Isabella Bortolozzi is pleased to announce
Giuseppe Desiato
“Like the quietness of flowers…”
(rituals, ephemeral monuments and brides)
curated by Elena Re
The exhibition continues through 30 July 2021
Galerie Isabella Bortolozzi
Schöneberger Ufer 61, 10785 Berlin
Tues–Sat, 12–6pm
Eden Eden
Bülowstr. 74, 10783 Berlin
Fri–Sat, 12–6pm and by appointment
Juliette Blightman and Steve Reinke
Extimacy / Needlepoint of Cruelty
Art Basel OVR: Portals 2021
VIP preview:
16 June, 2pm CET – 17 June, 2pm CET
Public days:
17 June, 2pm CET – 19 June, 12 midnight CET
Dorothy Iannone and Juliette Blightman
The Vleeshal Opera
Vleeshal, Middleburg, Netherlands
27 June – 12 September 2021
Opening: 26 June 2021
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So excited for art photographer extroidinaire Annette Frick who keeps having so many wonderful accomplishments and winning marvelous art prizes. Here is the latest in her cosmos:
vielleicht habt Ihr Lust die Ausstellung in der ich 2 Räume mit meinen
Arbeiten gestalte
zu besuchen.
parallel erscheint ein Risoprint Heft in kleiner Auflage.
Ich freue mich Euch dort zu treffen.
Herzlichst Annette
bitte unbedingt um Anmeldung zum Empfang
Neue Mysterien:
Luiza Prado & Annette Frick
Dieter-Ruckhaberle-Förderpreis
Ausstellung in der GalerieETAGE im Museum Reinickendorf [1]
28.05.-01.08.2021
Öffnungszeiten: Mo-Fr, So 9-17h
Ausstellungseröffnung im Garten des Museums Reinickendorf:
Sonntag, 06.Juni, 12-16 Uhr
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Two other young gifted artists whose careers I follow relentlessly are Damien Davis of New York and Christophe DeRohan Chabot of the famous patrician French dynasty. See b below:
Dear Friends,
Excited to share that my first museum curatorial project But No Elephants! will open this Thursday at the Sugar Hill Children's Museum of Art & Storytelling.
Inspired by a children's book my mother used to read to my late brother and I, this show (co-curated with Priyanka Dasgupta and the Museum’s Interim Director Charlene Melville) Unpacks the various ways in which we have reexamined what community looks like over the last year, and the potential we all have as individuals to contribute towards a more open and inclusive future.
It has been an honor to work with the museum’s past Artists-in-Residence (Derek Fordjour, Leslie Jiménez, Lina Puerta, and David Shrobe) on this show, and a privilege to put work from such an accomplished group of artists in a space we all once called home.
Looking forward to the conversations this show will hopefully generate, and hoping you will join me this Thursday as we contemplate an even more radical future for the community of Sugar Hill.
Damien
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ETABLISSEMENT D’EN FACE
PRESENTS
CHRISTOPHE DE ROHAN CHABOT
ARNAULT MARK RIHANNA
OPENING
SATURDAY 10.04.21
2PM – 8PM
EXHIBITION
11.04.21 – 13.06.21
What pleasure? The title of the exhibition indicates the identities and enables the association: Bernard Arnault, president of the LVMH group, Mark Zuckerberg, president of Facebook and Rihanna, pop singer and businesswoman, president of the Fenty brand. Formally, the display insists on the notion of sequence: that of structures, portraits and the black-red-blue color code. The reframings indicate the artist’s engagement with these images, mummified and sublimated icons, presented in icy placidity. Plasticized and chromatically coupled, the sequentiality acts out the rhythm of the dynamics of pleasure: it fixes the perception, directs the movements, provokes the desires.
How to get pleasure? In the epistemic model of the network, we cannot make clear distinctions between the types of agency of the works of art, the artists and the spectators. The only function of these actors is to perform the network, and their identity is thus given by their behavior. The backlighting of these images is maintained, refusing a compensatory effect of the exit of the digital. These images are avatars[1], and the users become by-products of their activity.
In Établissement d’en face, the repetition of structures, a hybrid mime of fair booths and tombs, forces the bodies to an inter-passivity that responds to the inter-mediality of the images. These entities do not possess their own reflection or rather, their reflection is diluted in the color code associated with them. Christophe de Rohan Chabot displaces the language strategies of these networks through a form of funeral rite.
Paolo Baggi
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Also the latest from the divine Sherry Milner:
