CHICAGO — A gallery at the Chicago Artists Coalition currently holds more than just a few pieces of art.
What kind of painting do you make in the face of the killing of an unarmed civilian by a police officer? What type of drawing sums up the pain of more than a century of institutional racism?
Brooklyn’s Interference Archive is showcasing the work of the women who occupied the area surrounding England’s cruise missile installation, reshaping British public opinion and attracting international attention to the nuclear arms race.
Earlier this month the New York City sites of 12 pedestrian or bicyclist fatalities by cars were memorialized with stencils of wings and roses.
In today’s high-paced media environment, yesterday’s footage of Russian security officials in traditional Cossack headgear whipping members of Pussy Riot (below) has already made it into the activist group’s latest video, “Putin Will Teach You How to Love.”
The word “expo” conjures big visions: grand pavilions, ferris wheels, exotic exhibitions, a world’s fair. But last Sunday, a different kind of expo opened at MoMA PS1, in Long Island City, Queens — Expo 1: New York, the latest curatorial effort of the institution’s director, Klaus Biesenbach. It’s not quite a world’s fair, but Expo 1, which is the result of a ongoing partnership between MoMA and Volkswagen, riffs on the idea by comprising many pieces that fit loosely together as a whole. It might best be described as an exhibition of exhibitions, or an extremely multifaceted exhibition, or an exhibition that’s “not only an exhibition,” as Biesenbach said at a press preview last week. He also talked about it in terms of wrapping “an envelope around the building [MoMA PS1],” while curator Hans Ulrich Obrist, a co-organizer of the show, called it “almost like a Russian babushka.” This was shortly after Obrist posed the essential question from which Expo 1 sprang: “What is a large-scale exhibition for the 21st century?”
Sitting in an intimate audience at the LGBT Community Center on a recent Tuesday night, I observed an unexpectedly inspirational conversation: three queer artists with different practices revealed their use of art as a means to construct a community, counter invisibility, and declare acceptance of their bodies in a Visual AIDS–organized panel titled Positive Assertions.
Would you think an artist dead set on destroying ancient vases would be quite so romantic? The Elton John AIDS Foundation has commissioned Ai Weiwei to create a short video animation published on the occasion of Valentine’s Day, and the results are… unexpected.
Almost five years ago, Electronic Disturbance Theater (EDT) 2.0/b.a.n.g. lab released the first iteration of the Transborder Immigrant Tool (TBT), a mobile-phone technology that provides poetry to immigrants crossing the U.S.-Mexico border while leading them to water caches in the Southern California desert. In 2010, the project caused a firestorm of controversy on the American political scene, and the artists of EDT/b.a.n.g. lab were investigated by three Republican Congressmen, the FBI Office of Cybercrimes and the University of California, San Diego (UCSD), where Ricardo Dominguez, co-founder of EDT (with Brett Stalbaum) and principal investigator of b.a.n.g. lab, is an associate professor in the visual arts department.
BEIJING — Photographer and installation artist Wu Yuren (吴玉仁), who Hyperallergic profiled last year for his activist work, has returned after a year to visit 008 and Zhengyang Arts Districts, the site of a heated battle between the arts community and local developers and police officials.