Serpentine Galleries’ “Future Art Ecosystems” emerges as an odd but occasionally insightful case study of the impact of the broader institutional shift to the digital realm.
The artist and the poet sat down together at Miami’s largest art fair to discuss their mutual influence and inspiration.
Nine artists are putting a digital twist on instruction-based art, removing the aspect of in-person engagement fundamental to such works by Marcel Duchamp to Yoko Ono.
PARIS — Take Me (I’m Yours) at the Monnaie de Paris revives and expands a 1995 exhibition curated by Christian Boltanski and Hans-Ulrich Obrist at London’s Serpentine Gallery, in which all the art is designed to be touched and taken away.
LOS ANGELES — The art world has a lot of feelings about Instagram. On a humid Saturday night in Los Angeles, the roving cultural hub ForYourArt spilled their #instaguts about it all through the Instagram Mini-Marathon.
An upcoming Marina Abramović show about “nothing” at London’s Serpentine Gallery has found several prominent art historians and critics at odds with the artist and Serpentine curator Hans-Ulrich Obrist.
ARLES, France — It first looked to be cold, gray, and rainy on the first April weekend in Arles, somewhat in stride with the general dour spirit of the French these days.
LOS ANGELES — How many literary readings involve a faux-gorilla dancing with a palm leaf and bunch of balloons? Or a megaphone? Or someone tossing handmade zines into the audience with abandon? Artists Read Baldessari was this type of event.
LONDON — There’s been quite a buzz around Wael Shawky lately. Since graduating with his MFA in 2001, the Egyptian artist has gone on to rack up an impressive number of accolades. Riding on this surge of enthusiasm, London’s Serpentine Gallery has deemed it time that Shawky receive his first major presentation in the capital, and the resulting exhibition is Wael Shawky: Al-Qurban (‘The Offering’).
Over the weekend, an activist group calling itself Future Interns descended upon the Serpentine Gallery in London’s Hyde Park. Their objection, the Guardian reports, was to yet another instance of the art economy’s exploitative labor model: uncompensated, administrative work under the guise of internship.
The celebrity curator may be a phenomenon on the rise, but before Klaus Biesenbach and Paola Antonelli, there was Hans Ulrich Obrist. Obrist, who’s currently the co-director of exhibitions and programs and director of international programs at London’s Serpentine Gallery, has a list of curatorial accomplishments so long, it’s daunting. And it turns out he’s been taking notes the whole time.
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?”