Tag Archives: balice hertling


In conjunction with the exhibition NOT I—THROWING VOICES (1500 BCE–2020 CE), LACMA presents a new video, installation, and performance work by Puppies Puppies (Jade Kuriki Olivo): Performance–Trans, Transfeminine, Femme, Trans Womxn, Trans Women, Gender Non-Conforming, Non-Binary, Genderqueer, and Two-Spirit people (Dedicated to Camila María Concepción—Rest In Peace).

In addition to the artist, the performance features Jerome AB, Cielo Oscuro, Bamby Salcedo, Davia Spain, and Bri Williams. See link below for viewing information about this online event.



Thursday, November 12, at 5 pm (PST) through Sunday, November 15, at 1 pm (PST).

Puppies Puppies (Jade Kuriki Olivo), from top: Realistic Androids for Hospitals in Japan (audio “Kanzi the Ape Speaking Through a Lexigram Keyboard”), 2020, digital video with sound, courtesy of the artist, commissioned by the Los Angeles County Museum of Art; Anxiety, Depression & Triggers, Balice Hertling, June 6, 2019–July 20, 2019, installation views (3). Images © Puppies Puppies (Jade Kuriki Olivo), courtesy of the artist, LACMA, and Balice Hertling.

WEEKLY WRAP UP | SEPT. 22-26, 2014

Anna. A rare picture from Michael White's photo album: The Last Impresario

“Anna “. A rare picture from Michael White’s photo album: The Last Impresario

This week on the blog we saw Steven Shearer at Eva Prensenhuber; visited the 14th International Architecture Exhibition in Venice; stopped by Etel Adnan at Yvon Lambert bookshop and by Alexander May at Balice Hertling;  and announced the new edition of Charles Veyron.


‘’War happens when language fails’’ wrote Margaret Atwood—the despair which haunts men’s history
states that language often failed in fact. War incited art imbued in displacement, vexation and anger;
art which hailed indeed not muteness, but the advent of uncodifiable codes. In Alexander May’s
second solo exhibition at the gallery, titled “Auditory Posture O”, the art subtends a multiplicity of
codes. But their advent in the shape of the artworks doesn’t occur into a babylonesque cacophony,
and into an uncodifiability which is rather peaceful: the gestures hold a primordial stasis, the pictures a
profound humanity—Margaret Atwood could state that here language have failed without inciting any

 © Claire Dorn

Courtesy of the artist and Balice Hertling (© Claire Dorn)

clairedorn_W6W1044 copie

Courtesy of the artist and Balice Hertling (© Claire Dorn)

© Claire Dorn

Courtesy of the artist and Balice Hertling (© Claire Dorn)

The codes don’t hide the meanings. Alphabets as notations, behavioral patterns as systems of
symbols—no term or sound, no gesture or picture is lost in translation; since the terms and the
sounds, the gestures and the pictures hold no actual meaning to lose. The artworks entail a
semantical vacuity that leads to the nullification of any codifying plan; instead they engage in the
exercise of pure syntax. Hence, the medium is dead, the message is dead. Don’t ask. Just understand
your own body within the room as itself a code: a conductor. Listen and pose. And enjoy this being in
a flux. Talk and see, if you like. Mouths lie on several of the artist’s paintings; along with eyes,
alphabets, and unintelligible typography. Indeed the signs don’t claim allegorical nature; they are
rather indexical presences, as if the artist can actually talk and see through his making hand. Paintings
unfold gestures that trace back to pictures, and pictures that vanish into gestures. They are neither
abstract nor figurative, neither gestural nor compositional—layers of artistic languages overlap and
deny each other, in the same vein the artist’s desire for communication is trapped into the materiality
of the artwork itself.


Courtesy of the artist and Balice Hertling (© Claire Dorn)


Courtesy of the artist and Balice Hertling (© Claire Dorn)

The exhibition itself is a trap. The sounds scattered within the room are the unsteady translations of
these words. Very few had entered the artist’s cosmos in those few hours when he played his glass
organ: he fucked the C-D-E-F-G-A-B notation, and still searched for harmony—so miserably.
The playing in the presence of the other was as the search for the correct statement of thought. The
question has always been if you and I understand each other… At least we try, fo sho we try.
Translate the organ into a laptop keyboard, so I can talk to you through sounds. Oh, don’t be afraid of
them, they come from the past, but are not ghostly voices. They come from the very first time we
meet, and come to us through our shared experiences… Because this we share, not language, not
symbols… Life, I guess… They are called green noises. And what plays here is a green organ. Oh, I
tell you, there is green as well in this exhibition.

Michele d’AURIZIO

Until 08.11.2014
47 rue Ramponeau
75020 PARIS

WEEKLY WRAP UP | SEPT. 15-19, 2014


from Overdrive: L.A. Constructs the Future, 1940-1990

from Overdrive: L.A. Constructs the Future, 1940-1990

This week on the blog Alexandra Ruiz of Madame Paris joined the team. Check out all of our postings!

Erica Baum : The Paper Nautilus at Bureau

Harald Lander and William Forsythe at Opera Garnier

Machine Project at Gamble House

Cory Arcangel: tl;dr at Team (bungalow) in Venice, CA

Jonathan Binet & Martin Laborde

Sadie Benning ‘Patterns’ at Callicoon Fine Arts

The studio of Jean Arp and Sophie Taueber-Arp at Clamart 

Sophie Tauber-Arp exhibition Today is Tomorrow at the Aargauer Kunsthaus, in Switzerland

I Never Read at the Tokyo Art Book Fair

Alexander May at Balice Hertling