O VERMELHO DO MEIO-DIA—a film and exhibition of collages by Tobias Madison—will be on view for one more week at Freedman Fitzpatrick in Los Angeles
The film—which was shot last year in São Paulo during the run-up to the eventual election of a far-right demagogue as Brazil’s president—began as a conversation between the artist, members of the collective MEXA, choreographer Luciana Mugayar, and curator TobiMaier.
“The translation issues and misunderstandings arising from the situation were integrated into the process. The film became a way to hang out and to ponder upon if it is possible—as a member of MEXA stated in a group discussion—to betray every single image and still be truthful, or to abandon that idea in the first place and instead run an anti-fascist program against yourself.”*
The new print issue of PARIS LA—a tenth-anniversary special devoted to fashion and writing—is now available.
PARIS LA 16 includes interviews with Hilton Als, Chris Kraus, Ines Kaag and Desiree Heiss of Bless, Tisa Bryant, Florence Müller, Malik Gaines, Q.M. Zhang, Commesdes Garçons’ Adrian Joffe, Anelise Chen, and Bice Curiger and Jacqueline Burckhardt of Parkett.
Massimiliano Mocchia di Coggiola contributed an essay with artwork on dandyism, Ramon Hungerbühler and Fabian Marti talk about skate brands, there are pieces on Setsuko Klossowska de Rola, and Pierre Davis and No Sesso, Anne Dressen has written about contemporary jewelry…
… and portfolios and portraits by Cédric Rivrain, Cassi Namoda, David Benjamin Sherry, Wyatt Kahn, Tobias Madison, Item Idem, Jean-François Lepage, Todd Cole, Marie Angeletti, Will Benedict, and Katerina Jebb—who created the Michèle Lamy cover and a poster of Marisa Berenson—grace the issue.
Also: a reprint of Iris Marion Young’s landmark essay “Women Recovering Our Clothes.”
For his first solo exhibition at Francescoa Pia Gallery, Tobias Madison is presenting a new body of work, all untitled, 2015.Made out of wood, polyurethane and epoxy resin they are framing or supporting structures for dried up iodine. The works present themselves as a problem: They cleanse but stain, they kill but cure, they seem like the body but are not the body. While what is being supported or framed seems to be blackened out, the works in their collective appearance are drawing out a framework for a house that perhaps ultimately only one person could live in.
Madison claims that they were not made with coherence in mind but rather and only for a certain manner of speaking, one that he sees as present when Francesca Pia herself is speaking.
On view until April 11.
Gallerie Francesca Pia