Tag Archives: Francois Ghebaly Gallery

CASSI NAMODA

An exhibition of new narratives by the Los Angeles-based painter Cassi Namoda—women in love, women in tears, women at risk, seemingly droll and serene (but patience may be running low)—is now on view at Ghebaly.

The show—Namoda’s first solo exhibition in Los Angeles—”negotiates the intricacies of mixed cultural heritage, intricacies that reflect the wider cultural dynamics” of the formerly colonized Mozambique, where Namoda was born. (Her mother is Mozambican and her father American.)*

CASSI NAMODA—THE DAY A MONKEY IS DESTINED TO DIE ALL TREES BECOME SLIPPERY*

Through April 28.

François Ghebaly

2245 East Washington Boulevard, downtown Los Angeles.

See Cassi Namoda, “Selected Paintings,” PARIS LA 16 (2018): 123–135.

Cassi Namoda, from top: Casa Deolinda, 2019; Native tribes, habits, and customs, 2019; Cantinho Do Ze, 2019; A Man’s Urine Always Falls Near Him, 2019; Namoda Imagines Malangatana, 2019; The Joy of Love, 2019; Life is the seamstress of dreams, 2019; A Terra Dos Homens, 2019; A nostalgic tea drinker and two monkeys getting married in Gurue, 2019. All acrylic on canvas except Life is the seamstress of dreams, which is acrylic and oil on canvas. Images courtesy the artist and François Ghebaly gallery.

HUMAN RESOURCES BENEFIT AND AUCTION

Join artists and performers Laura OwensRon Athey, My Barbarian (Malik Gaines, Jade Gordon and Alexandro Segade), Piero Golia, D’ette Nogle, Nora Berman, Sam Durant, Young Joon KwakZackary Drucker, Kibum Kim, Eve Fowler, Mara McCarthy, Jackie Tarquinio, and many more at the HUMAN RESOURCES BENEFIT AND AUCTION this weekend at Ghebaly Gallery.

 

HUMAN RESOURCES BENEFIT AND AUCTION, Sunday, November 12, from 5 pm to 8 pm.

GHEBALY GALLERY, 2245 East Washington Boulevard, downtown Los Angeles.

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Ron Athey.

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ART BASEL MIAMI BEACH – DAY 2

For the second day of our coverage of Art Basel Miami Beach, Paris, LA visited the Pulse and NADA independent art fairs, the Rubell Family Collection, Hans Ulrich Obrist’s “Instagram as an Artistic Medium” panel, and Ryan McNamara’s MEEM 4 Miami: A Story Ballet About the Internet.

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But first, let’s rewind a bit: not content to remain a daytime affair, the cultural events and opening parties during steamy South Beach’s Basel week stretch late into the night. And last night, after a visit to the Untitled. fair, Paris, LA visited the opening party for Peter Marino at the Bass Art Museum. The storied architect of contemporary Gucci and Louis Vuitton branches around the world donated his extensive collection of blue chip contemporary art, including several especially commissioned Damien Hirsts, for the show. The galleries were awash with especially salable black paintings, gold-lacquered skulls, and morbid readymades, like a gas mask case. Most press cited the show as proof of Art Basel’s pop apotheosis, though that was confirmed further by the Jeffrey Deitch-hosted Miley Cyrus concert later in the night.

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In the lobby level of the Bass was Gold, a flashy show that encapsulated the ostentatious displays of wealth at Art Basel. Although the curatorial text hinted that the present artworks’ use of gold was intended to be critical, it wasn’t clear of what. Instead, visitors saw two rooms of shiny things–reinforcing the commodity status of the art object, in the midst of a large commercial art fair.

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Outside the museum, in Collins Park, a public sculpture display and performance featured a Lynda Benglis fountain and a fascinating Alfredo Jaar piece with revolving speaker heads speaking in a robotic drone. Visitors lined up to stand inside Truth, and others spraypainted, carved up, and reassembled a wooden wall in a participatory piece by Christian Falsnaes (a work whose best aspect was also its worst: the utter inconsequence of its ultimate form). Finally, the night ended at the Artsy Dance Party, hosted by Carter Cleveland and Wendi Murdoch at the historic Moore building in honor of Chinese painter Shen Wei, which featured a performance by rapper Theophilius London.

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Thursday: there was little sleep do be had before Paris, LA was back at it again, this time perusing some of Miami’s many independent art fairs. The morning began (with strong Cuban coffee in hand) at Pulse, on the shorts of Indian Creek Park. There Danziger Gallery exhibited contemporary Dutch portraits by Hendrik Kerstens, using plastic bags and hand towels as traditional Flemish headwear. Unique at Pulse was an African presence, with photographs by Pieter Hugo, Malick Sidibé, and others.

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Elizabeth Leach Gallery of Portland exhibited drawings and wall sculptures made of tessellated paperback book scraps by Ann Hamilton. Nearby, Leslie Heller Workspace of New York gave a solo presentation of Lothar Osterburg, who makes photogravures of miniature models of mid-20th century New York City.

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Greg Kucera Gallery from Seattle exhibited work by Los Angeles-based artist Chris Engman, who photographs sculptures and installations to suggest intense depth in a truly stunning tromp l’oeil trick.

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Next Paris, LA travelled north to NADA, the New Art Dealers Alliance. Just within the hall entrance, London-based Jonathan Viner’s booth impressed with works by Amir Nikravan (who recently closed a show at VSF Los Angeles), Nicholas Deshayes, and Pentti Monkkonen.

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Nextdoor, New York’s Lisa Cooley displayed work by Andy Coolquitt and others. Los Angeles-based François Ghebaly Gallery’s booth featured a graph-paper drawing by Channa Horowitz and a photograph by Charlie White. London’s Ibid Projects exhibited new paintings by Jack Conway, whose work is also currently on display at their L.A. branch. Featuring flying bill notes and sacks of gold, Conway ironically captured the high-octane spending at Art Basel, much more effectively than the Bass Museum’s gaudy exhibition.

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Other striking booths at NADA including Night Gallery of Los Angeles, Frutta of Rome, and Tomorrow of New York, with its rainbow resin ant farm.

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After a quick break to feel the soft sand and warm seawater outside NADA at the Deauville Beach Resort, Paris, LA headed to the mainland neighborhood of Wynwood to see the Rubell Family Collection.

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Founded by hoteliers Donald and Mera Rubell, the collection features a laundry list of influential American and British artists–primarily from the 1980s–housed in the former DEA headquarters of “Miami Vice” fame, where confiscated cocaine and Kalashnikovs were stored. The galleries were full of works by Richard Prince, Robert Longo, Jeff Koons, Jason Rhoades, Glenn Ligon, and Charles Ray.

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The lobby featured a new commission by Kaari Upson: a silicone and spandex mattress cast over a fiberglass frame, caked in sooty black charcoal dust.

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After a quick bite near the Keith Haring-decorated Wynwood Walls, Paris, LA headed back to Art Basel for “Instagram As an Artistic Medium”, a Digital Talk panel discussion featuring curator Hans Ulrich Obrist, artist Amalia Ulman, collector Simon de Pury, MoMA PS1 Director Klaus Biesenbach, and Instagram founder Kevin Systrom, moderated by ForYourArt founder Bettina Korek. After discussing each of their projects and how they involve Instagram, the panelists wondered how the format of a social media platform may be similar or different from past art.

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Biesenbach cited On Kawara and Yoko Ono as two artists who predicted the seriality and repetition of Twitter and Instagram, and said that Instagramming his bedroom window every day had seriously affected his sense of time and change. Korek argued that Instagram shouldn’t count as “art” because it isn’t trying to be art at all, but rather a kind of filtered documentation. Finally, the panelists wrapped up with a brief argument over the nature of authenticity: while Systrom stated that the freedom to choose a subject and frame it makes Instagram an authentic platform, Ulman wondered aloud whether preselected screens or filters subvert this presumed authenticity.

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Finally, after a brief break for drinks at Disaronno’s party at the Art Deco Gale Hotel, Paris, LA attended Ryan McNamara’s MEEM 4 Miami: A Story Ballet about the Internet, commissioned by Performa. There were truly no bad seats in the house as audience members were carted around by trained workers to various parts of the theater (and even a secret back room), where dancers performed for groups of 10-20 people at a time individually, in pairs, or triplets.

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Once the audience had fragmented, perspectives shifted constantly. It was difficult to determine when one’s seat position would change, as the lifts always picked up the theater’s chairs from behind. In all, the dancers performed feverishly for over an hour, ending in the balcony as the music collapsed into itself, with a disjointed mashup of pop hits.

Stay tuned tomorrow for Day 3 of Art Basel Miami Beach.

WEEKLY WRAP UP | JUNE 16 – 24, 2014

1950s SKYWAYS HOTEL Los Angeles Vintage Postcard

1950s SKYWAYS HOTEL Los Angeles Vintage Postcard

MONDAY: Elaine Stocki‘s bizarre and wonderful photographs at Thomas Erben Gallery in New York

TUESDAY: A review in pictures of the “Made in L.A.” exhibition at The Hammer AND Anna Linzer‘s beautiful new book Home Waters

WEDNESDAY: DoPe Press at “I NEVER READArt Book Fair Basel with Oscar Tuazon‘s new book & a new edition by jewelry maker Ligia Dias AND Ann Veronica Janssens at Micheline Szwajcer‘s new gallery in Brussels

THURSDAY: Decorum,” a new exhibition of carpets and tapestries in Shanghai AND Sturtevant at Julia Stoschek’s collection in Düsseldorf

FRIDAY: A new summer group exhibition at Francois Ghebaly Gallery, Square(s)

SATURDAY: A sneak preview of collector Herman Daled‘s home in Brussels

SQUARE(S) AT FRANCOIS GHEBALY GALLERY, LOS ANGELES

Mona Vatamanu & Florin Tudor, Dance of the Earth, 2013, variable dimensions

Mona Vatamanu & Florin Tudor, Dance of the Earth, 2013, variable dimensions

The exhibition Square(s) opened this past weekend at Francois Ghebaly Gallery, and is on view until July 12th. Square(s) is exceptional in it’s political subject matter, especially for a summer group exhibition at a commercial gallery in Los Angeles. This is an important exhibition with stellar work, not be missed.

Next weekend, on Saturday June 28th, interventions by Davide Balula and Tom Dane, a talk, with, among others, architect Edwin Chan & Semiotext(e) founder Sylvere Lotringer, video screenings, and a launch of the new political party “thepeople71” will take place at the gallery.

Ivan Grubanov, Dead Flags, 2013, acrylic on canvas, dimensions variable

Ivan Grubanov, Dead Flags, 2013, acrylic on canvas, dimensions variable

In Turkey last June, hundreds of thousands of citizens went to Taksim Square to protest against their government’s plan to remove this beloved public park and build a shopping center instead. The protesters named their movement “Occupy Gezi” in reference to the Occupy Wall Street movement (OWS), which spread around US cities in 2011. The OWS movement itself was inspired by the Arab Spring that happened the same year, when every day people from Tunisia to Egypt, from Lebanon to Syria, went to the street against their repressive regimes. It appears that these cycles of struggles [1] have inspired one another, going back to all major social uprisings of our collective memory since the 1960s.

Davide Balula, One Fire Extinguisher = One Artist, 2014, fire extinguishers, 53x66"

Davide Balula, One Fire Extinguisher = One Artist, 2014, fire extinguishers, 53×66″

Demonstrations throughout the 20th century were traditionally organized along an avenue, a straight line with a beginning and an end. But these recent movements have been sedentary, and tend to use a strategy of encampment or occupation. In the past 3 years, in Egypt (Tahrir), Turkey (Taksim), Ukraine (Maidan), the United States (Wall Street), Venezuela (Altamira), and many others countries, people have expressed their anger by taking over iconic public squares and plaza, and naming their movement after this symbolic act.

Nikita Kaden, Procedure Room, 2009-2010, hot print on porcelain, 8 plates, 3 x 11" each

Nikita Kaden, Procedure Room, 2009-2010, hot print on porcelain, 8 plates, 3 x 11″ each

Nikita Kaden, Procedure Room, 2009-2010, hot print on porcelain, 8 plates, 3 x 11"

Nikita Kaden, Procedure Room, 2009-2010, hot print on porcelain, 8 plates, 3 x 11″

“Square(s)” will put together an international group of artists whom, using various practices and aesthetics, share a common awareness of these ongoing events. While this exhibition is not about partisan politics, it is an attempt to recreate a few different active public squares within a gallery space in Los Angeles, a city where the concept of public space is virtually non-existent. In this context, the works exhibited will simply function as the dissident voices of an occupied space.

Thomas Hirschorn, String-Tyre, 2014, tyre and climbing rope, 27" each

Thomas Hirschorn, String-Tyre, 2014, tyre and climbing rope, 27″ each

Neil Beloufa, Vintage Series: Whistles, 2014, MDF, steel, electrical outlet, switch, 63 x 47"

Neil Beloufa, Vintage Series: Whistles, 2014, MDF, steel, electrical outlet, switch, 63 x 47″

Lisa Anne Auerbach, Hate Blanket, 2010, 66 x 42.5"

Lisa Anne Auerbach, Hate Blanket, 2010, 66 x 42.5″

Andra Ursuta, Pepper Spray, 2009, wood urethane, leather, salt, 26 x 15 x 10"

Andra Ursuta, Pepper Spray, 2009, wood urethane, leather, salt, 26 x 15 x 10″

Neil Beloufa, Untitled, 2011, mixed media, dimensions variable

Neil Beloufa, Untitled, 2011, mixed media, dimensions variable

 With works and contributions by: Lisa Anne Auerbach (USA), Davide Balula (France), Dan Bayles (USA), Neïl Beloufa (Algeria & France), Edwin Chan (Hong Kong), Tom Dane (Denmark), Cem Dinlenmiş (Turkey), Nilbar Güreş (Turkey), Hatice Güleryüz (Turkey), Ivan Grubanov (Serbia), Michael Hardt (USA), Thomas Hirschhorn (Switzerland), Nikita Kadan (Ukraine), Joel Kyack (USA), Sylvère Lotringer (foreign agent), Pode Bal (Czech Republic), Ariel Schlesinger (Israel), Slavs and Tatars (various), Extrastruggle (Turkey), thepeople71 (various), Sergio Torres-Torres (Mexico/USA), Mona Vatamanu & Florin Tudor (Romania & Switzerland), Andra Ursuta (Romania).