Imagining utopia seems to have become the principal task of artists as of late, any speculative, social practice is quickly branded as such. So much so that the title of Kadist’s latest exhibition ‘Affective Utopia’ almost washes past unnoticed. Review by Jessica Saxby
New York-based sculptor Will Ryman recently unveiled his first large-scale European presentation of work in La Villette, an expansive urban public park located in the northeast of Paris. Three sculptures, ‘Pac-Lab’, ‘Heads’ and ‘Sisyphus’ (all 2018), have been commissioned as part of the interdisciplinary Festival 100%. Made first in clay and then fabricated in painted resin and bronze respectively, the sculptures have a theatrical bent, something the artist is keen to connect to personal experiences of making processes, histories and audience dialogue. Anneka French speaks to the artist.
Following its world premiere in Newcastle and with its current run at the Tyneside Cinema ending on the 29 October, 2017, Russian artist collective Chto Delat?’s new film, The New Deadline #17 Summer School of Orientation in Zapatism, will tour to the Centre Georges Pompidou in Paris and the Museo Universitario Arte Contemporáneo (MUAC) in Mexico City. Compelling and highly charged, the film wrestles with the vast question of what it is to revolt, whether to look forward or backward and how to maintain a noble, non-egoist movement. Review by Chloe Hodge
George Henry Longly’s new exhibition at Valentin, 'The Smile of a Snake', takes its name from a language tutorial emphasising the pronunciation of the letter “s”. A phonetic exercise forlearning English as a foreign language it also highlights problems with the physical materialisation of language.
The pioneer of a still loosely defined practice, Amalia Ulman uses social networks as a stage for her performances. For her exhibition at New Galerie, Ulman has transformed each room into a diffracted mirror of her virtual universe.
For his Palais de Tokyo ‘Carte blanche’ exhibition Tino Seghal his filled the space with six of his own works as well as works by Felix Gonzalez-Torres, James Coleman, Daniel Buren, Isabel Lewis, Pierre Huyge and Philippe Parreno. Review by Elli Resvanis
'Reconstructive Memory' is an English term borrowed from cognitive psychology meaning that memory is not a faithful reproduction of past events but rather a mental faculty based on recollection-reconstruction processes. Depending on our emotions, our level of tiredness, our beliefs, we may reconstruct episodes from our lives in a way that leads to distortions, alterations and false memories.
Palais de Tokyo presents the first solo show in France of the Icelandic artist Ragnar Kjartansson whose singular work is a cross between performance and cinema, sculpture and opera, plein air painting and music. In a poetic and surprising manner, the exhibition portrays everyday desires, longing for the transcendent, blurring the boundary between mundane and sublime.
Gabriele De Santis questions the codes of a fast-paced society that is constantly forced to perform demanding success, giving space to a translation of a system, the construction of a contemporary iconography and of an aesthetic of the present.
For her latest exhibition at the Palais de Tokyo, Bouchra Khalili presents a new series of works made up of films, photographs and historical document, which explore the complex relationships between colonial and post-colonial History in the period after Algerian independence.