Tag Archives: Paul Mpagi Sepuya

GRACE WALES BONNER

The public presentation of MUMBO JUMBO—Grace Wales Bonner’s Autumn/Winter 2019 collection that shares a title with Ismael Reed’s revolutionary 1972 novel—will conclude A TIME FOR NEW DREAMS, Wales Bonner’s exhibition at the Serpentine.

Throughout this final week of the show, the dancer and performance artist Michael-John Harper will take residence within the gallery and perform a daily ritual of movements.

Exploring “magical resonances within black cultural and aesthetic practices” through improvised installations and shrines, A TIME FOR NEW DREAMS also incorporates the work of Chino Amobi, Black Audio Film Collective, Rotimi Fani-Kayode, David Hammons, Michael-John Harper, Liz Johnson Artur, Rashid Johnson, Kapwani Kiwanga, Klein, Laraaji, Eric N. Mack, Paul Mpagi Sepuya, Ben Okri, Ishmael Reed, Sahel Sounds, and Wales Bonner.

GRACE WALES BONNER—A TIME FOR NEW DREAMS

Through February 16.

Serpentine Sackler Gallery

West Carriage Drive, Hyde Park, London.

Exhibition booklet.

From top: Eric N. Mack, Capital Heights, 2019, in Grace Wales Bonner—A Time for New Dreams, Serpentine Sackler Gallery, 2019; Rashid Johnson, Untitled (daybed 1), 2012; Wales Bonner; Grace Wales Bonner, Everything’s for Real; Liz Johnson Artur, There is only one…one, 2019. Images courtesy the artists and the Serpentine Galleries.

GROUNDINGS

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GROUNDINGS, organized by Grace Deveney and Tara Aisha Willis, explores movement—seen and unseen—through a series of residencies with artists who work in dance, music, and performance art. The exhibition considers the reciprocal influence between bodies in motion and the invisible forces that govern movement, such as gravity, time, and electricity.

Over the run of GROUNDINGS, performers will hold open rehearsals in which they create performances and physical objects that speak to the themes of the exhibition.

GROUNDINGS artists include Katinka Bock, Blythe Bohnen, George Brecht, John Cage, Martin Soto Climent, Julia Dault, JimmyDeSana, Jonas Dovydenas, Adam Ekberg, Whit Forrester, Felix Gonzalez-Torres, Rashid Johnson, IsaacJulien, Annette Kelm, Paul Mpagi Sepuya, Jack Pierson, Stan Shellabarger, Nancy Spero, Dannielle Tegeder, CarrieMae Weems, and James Welling.

GROUNDINGS

Through May 12.

MCA Chicago

220 East Chicago Avenue, Chicago.

From top:

John Cage, A Dip in the Lake: Ten Quicksteps, Sixty-two Waltzes, and Fifty-six Marches for Chicago and Vicinity, 1978. Felt-tip pen on map. Collection Museum of Contemporary Art Chicago. © 1993 John Cage Trust. Photograph © MCA Chicago.

Annette Kelm, Untitled, 2012. Chromogenic development print. Collection Museum of Contemporary Art Chicago.

Jimmy De Sana, Cowboy Boots, 1984. Vintage cibachrome. Collection Museum of Contemporary Art Chicago. Courtesy of the JimmyDe Sana Trust and Salon 94, New York.

Rashid Johnson, Multiple Consciousness, 2010. Gelatin silver print. Collection Museum of Contemporary Art Chicago. © 2010 RashidJohnson. Photograph by Nathan Keay, © MCA Chicago.

PAUL MPAGI SEPUYA IN CONVERSATION

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Join Paul Mpagi Sepuya for a discussion about his edit of the artwork on display at LACMA’s Study Center, and how it relates to his practice.

ARTISTS ON ART—PAUL MPAGI SEPUYA

Saturday, December 8, at 2 pm.

LACMA, 5905 Wilshire Boulevard, Los Angeles.

Sepuya’s Darkroom Mirror with Roses at Night, a fundraising C-print (below) for Printed Matter, is now available.

See “Death Deluxe,” a portfolio by Item Idem, with photography by Brian Oldham and Paul Mpagi Sepuya, PARISLA 16 (2018).

From top:

All artwork by Paul Mpagi Sepuya.

Study with Two Figures, N.B. and J.T., after R.N.B. (1404), 2015, archival pigment print.

Study Reflecting Dureau, 2017, archival pigment print.

Darkroom Mirror with Roses at Night, 2018. C-print.

Study for a Self Portrait (1504), 2015, archival pigment print.

POSITIONER

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POSITIONER—a new group show at Matthew Marks featuring work by Lena Henke, Ravi Jackson, Julien Nguyen, Julia Phillips, and Paul Mpagi Sepuya focused on the depiction of the individual—is now on view.

“Representation, figuration, and portraiture all carry with them implications of power, visibility, and identity. The artists in this exhibition, working in a broad range of media, expand upon and push against these histories, suggesting more inclusive and critically-engaged ways forward.”*

“The title of the exhibition is borrowed from Phillips, whose work often alludes to the unseen nature of institutionalized discrimination.”*

POSITIONER*

Through December 22.

Matthew Marks

1062 North Orange Grove, and

7818 Santa Monica Boulevard, West Hollywood.

See “Death Deluxe,” a portfolio by Item Idem, with photographs by Brian Oldham and Paul Mpagi Sepuya, PARIS LA 16 (2018).

Julia Phillips, Fixator (#2), 2017; partially glazed ceramic, screws, metal structure, and partially glazed ceramic tiles.

Ravi Jackson, Untitled, 2017; acrylic on paper and wood, ceramic tile, and Formica

Julien Nguyen, Capricorn Rising, 2018; oil and tempera on wood panel.

Lena Henke, Die Kommenden II, 2018; rubber, foam, pigment, reclaimed wood, metal, and mesh.

Paul Mpagi Sepuya, Darkroom Mirror (_2100135), 2017; archival pigment print.

Images courtesy the artists and Matthew Marks.