The launch party for CARLA 17 is this weekend at Park View / Paul Soto.
The new issue includes features on Donna Huanca, David Hammons, Ragen Moss, and collectors and Gemini G.E.L. founders Elyse and Stanley Grinstein.
Concurrent with the launch is AUTOMATIC DOOR, a group show featuring the work of VictoriaColmegna, Andy Giannakakis, Aidan Koch, Mark McKnight, Dylan Mira, Alex Olson, MattPaweski, Autumn Ramsey, Mark A. Rodriguez, Kate Spencer Stewart, J. Parker Valentine, and Willa Wasserman.
This is the closing weekend for OSCAR TUAZON—WATER SCHOOL at the Eli and Edythe Broad ArtMuseum at Michigan State University.
“In 1968, engineer and inventor Steve Baer self-published the Dome Cookbook, a treatise on mathematics, do-it-yourself architecture, and off-the-grid living. Three years later he created his Zome Home in the foothills overlooking Albuquerque. The house remains one of the earliest modern examples of passive solar architecture; the sun’s energy is collected during the day and stored in drums of water installed in large, bay windows, which then provide heat during the night.
“This unique structural system, and the larger countercultural DIY building and environmental movements of the 1960s and 1970s, form the basis for Tuazon ’s latest conceptual and material research. For his exhibition at MSU Broad—curated by Steven L. Bridges—Tuazon continues his investigations of the relationship between art, architecture, and environmental sustainability, with specific consideration of the exhibition’s immediate context: Michigan and the Great Lakes region.”*
The Water School has grown out of thinking about what role art making can play in building community and culture. — Oscar Tuazon
“As the title suggests, Tuazon will initiate the latest version of his Water School, while also bridging the conversation in Michigan with the artist’s schools in California and Minnesota. These schools are spaces for formal and informal learning, opportunities to specifically address water, land rights, and other socio-environmental issues, connecting local concerns with national and global conversations.”*
This is the closing week of AVENGERS—SOMEONE LEFT THE CAKE OUT IN THE RAIN, a group show at Gaga & Reena Spaulings Fine Art, Los Angeles.
The exhibition features photographs by Julie Becker and Reynaldo Rivera—including several from the Cha Cha Girls ’87 series—prints by Juliana Huxtable, Stephen Willats, and FelixBernstein & Gabe Rubin, paintings by Jill Mulleady, Mayo Thompson, and Bedros Yeretzian &Nicole-Antonia Spagnola, multimedia works by Harry Dodge, Megan Plunkett, MatthewLangan-Peck, and Larry Johnson, and videos by Ken Okiishi and Gary Indiana.
In addition, Hedi El Kholti’s Collage sketchbook #10 is here, as well as ABC Pong, BernadetteCorporation’s table piece, featuring audio by Sylvère Lotringer.
On closing night the gallery will host a video program, with work by Alexander Kluge, AlexHubbard, and exhibition artists Dodge, Huxtable, Indiana, and Spagnola.
As part of Week Three of Redcat’s NEW ORIGINAL WORKS FESTIVAL 2019, Bonnell presents PARADISE ISLAND, “a new work of theater that compresses a decade of writing into an evening-long performance. We are giving new life back into what could soon be forgotten texts of downtown loft-era performance throughout the ’70s.”
Based on Foreman’s writings from 1973 to 1983, PARADISE ISLAND is “part retrospective, part future-bending reinvention, [bringing] new life to one of America’s most influential experimental artists.”*
Also on the bill at Redcat: Austyn Rich’s BL**DY SPAGHETTI, and Source Material’s new music-theater work A THOUSAND TONGUES, performed by Nini Julia Bang and directed by Samantha Shay.
ALTERED AFTER—a group show at Participant Inc featuring work by Darrel Ellis, fierce pussy, General Idea, Jerrythe Marble Faun, Leslie Kaliades, Kang Seung Lee, Ronald Lockett, Jonathan Molina Garcia, Cookie Mueller, Raúl de Nieves, Jason Simon, Manuel Solano, GailThacker, JulieTolentino, and XFR Collective—incorporates “archives, archaeology, salvaged objects, material migrations, inherited knowledge, and bequests in response to HIV/AIDS.”*
The exhibition is curated by Conrad Ventur for Visual AIDS.
“I’ve learned that we have to find our own saviors. For me, I like to create a fantasy, and one of the ways I’ve found beauty is by stacking beads on top of each other. I usually work in circles and let time shape the work…
“I guess I choose shoes as a vehicle to adorn myself, to give off different identities… The shoes are very organic. I actually see them grow. It pushes me to want to learn more about weight and design, to push them into new forms. But I also want them to design themselves in a way.” — Raúl de Nieves
In conjunction with ALTERED AFTER, Anthology Film Archives and Visual AIDS present RECORD TIME, a free evening of films and videos on August 8, curated by Carmel Curtis and LeeroyKun Young Kang.
The program includes SOMETHING FIERCE (1989)—Greg Bordowitz and Jean Carlomusto’s video for Gay Men’s Health Crisis—Colin Campbell’s SKIN (1990), NguyenTan Hoang’s K.I.P. (2002), Hayat Hyatt’s VILLANELLE (2015), Tran T. Kim-Trang’s KORE (1994), Barbara Hammer’s VITAL SIGNS (1991), and Jim Hubbard’s THE DANCE (1992).