This week on the blog we visited Bex & Arts, a Contemporary Sculpture Triennal in Switzerland; saw Bertrand Bonello at Centre Pompidou; passed by Peter Lindbergh at Gagosian Paris and Yoko Uhoda Gallery in Liège to see a show curated by Christophe Daviet-Thery; and finally ended with Neïl Beloufa at ICA in London.
In this first UK institutional exhibition of Neïl Beloufa’s work, the ICA show a selection of his latest works on film alongside recent sculptural works across the Lower Gallery and Theatre. These explore the representation of digital information systems and the often conflicting desires for openly available information within mass media. They are exhibited in specifically designed architectural installations where certain aspects of the images are able to be manipulated and fragmented throughout layers of screens within space.
Within the Lower Gallery, audiences will be met by a series of new sculptures and fragmented and live video works. Beloufa seeks to further break the conventional relationship with the screen, reorienting the way the audience relates to the imaginary constructs of a digital realm and the real world. The installation premiers two new films: Data for Desire (2014) seeks to explore and predict via mathematical systems the personality traits and actions of a group of people within a constructed environment, and VENGEANCE (2014) documents the artist’s engagement with a group of youths who directed and developed the film’s narrative. Both of these new works construct situations and scenarios to make powerful statements about the complexities of human interaction and how we choose to interpret the world.
In the theatre Beloufa presents the film La domination du monde (World Domination, 2012), which was originally made for his exhibition at the Palais du Tokyo. This features alongside Home is Whenever I’m with You (2014) a new film co-commissioned by the ICA, London and The Banff Centre, Canada. The film illustrates how we choose to communicate via social media and engage with information and new forms of moving imagery since the advent of the internet and its relationship with the viewer.
24 Sep 2014 – 16 Nov 2014
Institute of Contemporary Arts
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.
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  have inspired one another, going back to all major social uprisings of our collective memory since the 1960s.
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.
“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.
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).
PARIS, LA | ISSUE #10 / FALL 2013
SPECIAL ART ISSUE | FRANCE X LOS ANGELES
Jennifer West: Mind and Matter | By Martha Kirszenbaum
Portfolio Ceci n’est pas… | By Sébastien Paquet
Celui qu’elle espérait | By Neil Beloufa
How to Build a House | Jorge Pardo in conversation with Oscar Tuazon
Lost in Los Angeles | By Andrew Berardini
A Cento | By Public Fiction
The Importance of Being Unfinished | Sylvère Lotringer in conversation with Dorothée Perret
COVER | Michael Jackson Estates, 2013 by Pentti Monkkonen
CENTERFOLD | Chanel Winter 2013 Ad Campaign Remix by Pierre-François Letué