Autechre will release their new album ‘Oversteps’ on March 22nd on Warp Records. The album will be available on CD, and deluxe vinyl edition—both including a free super high quality download version. Made in The Designers Republic. (via Bleep)

Oversteps, Autechre [Warp]

Tracklisting

01 – r ess
02 – ilanders
03 – known(1)
04 – pt2ph8
05 – qplay
06 – see on see
07 – Treale
08 – os veix3
09 – O=0
10 – d-sho qub
11 – st epreo
12 – redfall
13 – krYlon
14 – Yuop

The first Art Los Angeles Contemporary, January 28-31, promises to be a highly exclusive and tightly focused selection of top blue chip and emerging art galleries from Los Angeles and around the world. The 2010 selection committee members for the premiere edition of Art Los Angeles Contemporary will choose up to 50 galleries to present exhibitions at the international contemporary art fair.  The 2010 selection committee members include 1301PE, Los Angeles; David Kordansky Gallery, Los Angeles; Peres Projects, Los Angeles / Berlin; Susanne Vielmetter, Los Angeles / Berlin.  

The galleries chosen for this years’ fair, to date, will feature a wide array of emerging and established artists and will spotlight the curatorial skill of each gallery.  Below are the galleries that have been selected: 1301PE, Los Angeles; Angles Gallery, Los Angeles; Artbook, New York; Blum &; Poe, Los Angeles; The Breeder, Athens; Kathryn Brennan Gallery, Los Angeles; Gavin Brown’s enterprise, New York; Shane Campbell Gallery, Chicago; Charest-Weinberg Gallery, Miami; Charro Negro Galeria, Guadalajara; China Art Objects Galleries, Los Angeles; The Company, Los Angeles; Lisa Cooley, New York; Crisp, London; Crystal; Contemporary Art, Stockholm; Dogenhaus Galerie, Leipzig; Eighth Veil, Los Angeles; Marc Foxx, Los Angeles; Honor Fraser, Los Angeles; François Ghebaly Gallery, Los Angeles; Anthony Greaney, Boston; Jack Hanley Gallery, San Francisco / New York; I-20, New York; Galerie Michael Janssen, Berlin; Kalfayan Galleries, Athens/Thessaloniki; Galerie Ben Kaufmann, Berlin; Klosterfelde, Berlin; David Kordansky Gallery, Los Angeles; LACE (Los Angeles Contemporary Exhibitions), Los Angeles; LA><ART, Los Angeles; Kim Light / LightBox, Los Angeles; Los Angeles Nomadic Division (LAND), Los Angeles; Karyn Lovegrove Gallery, Los Angeles; Gallery Luisotti, Santa Monica; Museum 52, New York/London; Nice & Fit, Berlin; Ooga Booga, Los Angeles; On Stellar Rays, New York; Otero Plassart, Los Angeles; Patrick Painter Inc., Santa Monica; Franklin Parrasch Gallery, New York; Peres Projects, Berlin/Los Angeles; Redling Fine Art, Los Angeles; Regen Projects, Los Angeles; Rental, New York; Marc Selwyn Fine Art, Los Angeles; Fredric Snitzer Gallery, Miami; Thomas Solomon Gallery, Los Angeles; SolwayJones, Los Angeles; Standard (Oslo), Oslo; Starkwhite, Auckland; Steve Turner Contemporary, Los Angeles; Susanne Vielmetter Los Angeles Projects, Los Angeles; Jonathan Viner Gallery, London; Kate Werble Gallery, New York; Tracy Williams, Ltd., New York.

Further highlights include talks and book signings by D.A.P. / Distributed Art Publishers, New York.  An independent publishers section will be organized by Wendy Yao of Ooga Booga, Los Angeles.  LA-based non-profit organizations LA><ART, Los Angeles and Los Angeles Nomadic Division (LAND) will organize special on-site programming.

Art Los Angeles Contemporary is aligned with the citywide Los Angeles Arts Month, a collaboration between dozens of local arts organizations, arts and civic leaders, artists, philanthropists, and committed public and private partners. LA Arts Month aims to connect Los Angeles’ diverse communities to the arts, while showcasing its vibrancy to both national and international visitors.  

Tim Fleming is founder of Fair Grounds Associates (FGA), an organization that runs and owns the new Art Los Angeles Contemporary. For over a decade, Fleming has produced some of the country’s most noted contemporary art shows.  Under his direction, ART LA (2006 – 2009) gained notoriety on the international art fair circuit as having a strong community background that championed the bustling Los Angeles contemporary art scene.  In addition to ART LA, Fleming also served as director of photo MIAMI (2006 – 2008). Shortly after graduating from the School of the Art Institute of Chicago, Fleming began his career as a cultural events and art show developer. He served as the director of non-commercial project gallery Seven Three Split, and later while working with Art Chicago, served on the team that developed The Stray Show, an acclaimed ancillary art fair for alternative gallery space.

Fall 2010 Rick Owens.

One more time with the feeling

Fall 2010 Ann Demeulemeester.

one more time with style

Fall 2010 Lanvin.

one more time with feeling

Fall 2010 Kris Van Assche.

straight out of you veins

Fall 2010 Yves Saint Laurent, video still from Bruce Weber movie on view here.

straight out of your eyes

Fall 2010 Rick Owens.

from the top of your neck

Fall 2010 Romain Kremer.

to the base of your spine

Fall 2010 Raf Simons.

new baby fly new baby fly

Fall 2010 Yves Saint Laurent, video still from Bruce Weber movie on view here.

you gotta cruise yourself

Fall 2010 Yves Saint Laurent, video still from Bruce Weber movie on view here.

who is gonna mind

Lighting at Fall 2010 Raf Simons.

and I mean that in a good way

Robin Schulié (from Maria Luisa store in Paris) at the launch of Acne‘s debut furniture collection.

forget this room forget this time

Fall 2010 Lanvin.

one more time with feeling

Fall 2010 Rick Owens.

forget this room forget this time

Fall 2010 Raf Simons.

one more time with style

Fall 2010 Lanvin.

Lyrics from “Cruise Your New Baby Fly Self” by Girls Against Boys.

‘First Spring’

Whatever should happen — the beautiful, the fantastic, the dreamlike …

A few young men are in Prada menswear…
As if in Shanghai of the 1930s or 40s,
As if in cafés, ballrooms and backrooms in the dark of night, in all the merry places …
Whatever should happen would happen ….

In the streets, in the crowds, you meet Chinese of different classes, from different
times; like people in utterly different worlds, but meeting in Shanghai dozens of years
ago ….

Whatever should happen would always happen …
In the sky over this city,
They still see they’re walking under the parasols …

Dangerous beauty …, promising beauty …
Whatever should happen …
Everything in the spring depends on …
A good start in the spring …

—Yang Fudong

Video still excerpt from Prada Men Summer 2010 movie by Yang Fudong.

Watch the full video on Prada.com

Hans Ulrich Obrist on ‘First Spring’

THE PAST THE PRESENT THE FUTURE

Yang Fudong is one of the most internationally acclaimed Chinese artists working today and a major representative of contemporary Chinese video art. His work explores and expands the potential of the filmic conventions of linear narrative.

 

What impresses the viewer upon first seeing Yang’s works is the sensuousness and beauty of the images, qualities that draw us in while leaving us unprepared for the narrative ambiguity at the heart of the films. Uncertainty is pervasive – there are uncertain characters, confused identities and unexpected props, all of which conspire to create a world of personal experience that resembles but never completely coincides with the real world. Combined with the formal experimentation that Yang visits upon the material, this uncertainty creates an overall sense of drifting, somewhere between immersion and distraction, inviting clear parallels with the simultaneous stimulation and oblivion of the modern city experience.

 

In modern cities, man’s inner sensitivity is fogged by a cumbersome jumble of information and tangled human relationships. Yang’s use of delicate grey tones at first seems to alleviate this confusion, to help us come to terms with our train of thoughts, but it also establishes a distance; that of faded memories or dreams. Indeed, the use of black and white in Yang’s videos – for instance in the film Moshen Tiantang (An Estranged Paradise) of 1997–2002 – suggests a nostalgia for the films of 1920s and 1930s Shanghai, when the city was a booming center for film production. Suggesting his own feelings of alienation in relation to the experience of the city, Yang, who lives in Shanghai, has stated that ‘I always have this feeling of not living in my own city, of being a long way from my family in a city that isn’t really mine’.

ELIAS HANSEN AT THE COMPANY

Show running from Jan 14 to Feb 21, 2010

Opening Reception Saturday January 16, from 7-9PM

946 Yale Street, Los Angeles, CA 90012

Sometimes when you cook, you hide the pot until next time you need it.

It’s too bad that the concept of “place” has become such a treacly, sentimental, not to mention overused, idea in recent years because it could be useful in trying to position the work of Eli Hansen. Hansen is deeply committed to defining an authentic aesthetic of the Pacific Northwest, the region in which he has lived his entire life. This endeavor can be seen as a counter-reaction to the internationalizing homogenization that has overtaken the artworld, an attempt to put forth ideas that bear a refreshing uniqueness and difference because they could not have been made anywhere else. His approach should not be seen as conservative or reactionary, however, as he does not willfully shut out ideas from the outside world and maintains a nimble, critical stance towards the history of Northwest art and culture while also presenting a perspective that doubtless has relevance to conditions elsewhere.

Hansen in fact adopts methods that are rigorous, even scientific, and has developed real expertise and craftsmanship in processes as rarefied and labor-intensive as glassblowing. But any virtuosity is deliberately kept in check by limitations in his skill sets and a tendency to favor expediency and pragmatism over high-craft. He knows how to form a vessel out of molten glass that could challenge the decorative exuberance of Dale Chihuly, but prefers to anchor his creations in the practical milieu of early 1970s counterculture, when hand-blown glass could be best used as a makeshift window in a rough-hewn hut. His recent sculptures in this exhibition bear out this predilection, strapping beautifully crafted crystal lenses to tin cans with wire so that low-fi photographs can be scrutinized. The objects in the photographs, like the sculptures that house them, are of structures defined by an in-between state, some devoted to itinerant lifestyles like RVs, others downtrodden houses in the process of being reclaimed by nature. Hansen has long been fascinated by off-the-grid lifestyles, a movement with particular momentum and history in the Northwest, but in these tumultuous times, such living arrangements are not always adopted willingly, and this ambiguity charges Hansen’s images with new relevance. The old dictum that teachers pass on to students to “paint what you know” or “write what you know” in order to capitalize on deeply ingrained experience has been taken up with gusto by Hansen, translating his profound and nuanced understanding of the mossy nooks and crannies of Washington state into poignant and lucid commentaries that transcend any one particular locale. —Michael Darling