News

Maecenas sed diam eget risus varius blandit sit amet non magna. Sed posuere consectetur est at lobortis. Donec ullamcorper nulla non metus auctor fringilla. Curabitur blandit tempus porttitor. Sagittis lacus vel augue laoreet rutrum faucibus dolor auctor.

James Clar part of Mana's New Media Program group show in Downtown Miami during Miami Art Week.

One Minute Dreamscape, 2016

One Minute Dreamscape, 2016

The Mana Contemporary BSMT New Media Program (NMP) presents Flatland, a group exhibition of seventeen artists exploring new technologies, on view Dec 6-10. Spanning five storefronts of Downtown Miami, which have been transformed into five conceptual levels. Using machine vision, biometric sensors, anamorphic 3D projection mapping, VR, AR, and more, the works in the show invite one to dissociate momentarily from ordinary waking consciousness, and explore the worlds of seventeen artists who imagine new perspectives of “reality.” 

James Clar will be part of STOREFRONT 2: LIMINALITY. An immersive environment, featuring installations by Lisa Park and James Clar that blur boundaries between virtual/real and physical/metaphysical, as well as dynamic light works by Pablo Gnecco and Alex Czetwertynski.

Lucy + JOrge Orta part of the untitled, miami beach 2017 special projects sector

Antarctic Village - No Borders, Dome Dwelling, 2007

Antarctic Village - No Borders, Dome Dwelling, 2007

Lucy + Jorge Orta’s Antarctic Village - No Borders, Dome Dwelling will be presented as part of UNTITLED, Miami Beach 2017 Special Projects sector. Created for the End of the World Biennial in 2007, the domelike sculptures constructed with flags from countries around the world, as well as the first Antarctic Flag. It symbolizes the unification of nations around shared common values, putting forth the utopic notions embodied by Antarctica; the only region on earth not claimed by any country.

YUKO MOHRI IN THE 14TH BIENNALE DE LYON

Moré Moré [Leaky]: The Falling Water Given #4-6, 2017

Moré Moré [Leaky]: The Falling Water Given #4-6, 2017

Yuko Mohri is participating in the 14th Biennale de Lyon on view through January 7, 2018. Floating Worlds curated by Emma Lavigne uses six trails to link the artworks on show at the macLYON to the ones on show at La Sucrière and the dôme, place Antonin Poncet: Archipelago of Sensation, Expanded Poetry, Ocean of Sound, Electric Body, Inner Cosmos and Endless Circulation. 

Yuko Mohri's installations are like autonomous ecosystems, made of disparate mechanical elements. Household utensils or other everyday objects reconfigured by the artist are combined with machine parts that she has picked up all over the world. The improvised design of these assemblages involves intangible energies such as magnetism, gravity, light, and temperature. She designs frameworks inspired by Marcel Duchamp works such as the Ready-madesThe Large Glass or Étant donné, then creates two-dimensional works based on water leaks that have sprung in various places. The artist then tries to connect the flows between them, judging the work to be finished when she has managed to control the leaks, thus allowing the water to circulate again.

Michael Rakowitz in "BUILDING/ENVIRONMENTS" at Smart Museum of Art

paraSITE, 1998

paraSITE, 1998

Michael Rakowitz's work "paraSITE," 1998 is part of the Building/Environments exhibition at the Smart Museum of Art through January 28, 2018. 

Presented in conjunction with the Chicago Architecture Biennial, this show explores the relationship between art and the built environment—the everyday structures we have built around us.

Building/Environments offers a significant reconfiguration of the Smart’s collection as well as our own interior environment, opening up new perspectives on beloved artists and art objects. It mixes approximately 100 works from across eras, cultures, and media to question the ways we occupy and perceive the built environment. The objects are loosely organized into three thematic sections that look at cities and urban spaces; household objects and domestic spaces; and utopian visions.  

Richard Ibghy and Marilou Lemmens at the Agnes Etherington Art Centre in Queen's University, Ontario

Richard Ibghy and Marilou Lemmens, The Golden USB, 2014-ongoing. multi-media installation.

Richard Ibghy and Marilou Lemmens, The Golden USB, 2014-ongoing. multi-media installation.

Through spoken-word audio, filmed performances and specimens, contents of the Trade Catalogue of Everything are revealed. Displayed as objects of appropriation and speculation, these are samples from a USB-ready “commercial” list addressed to extraterrestrial beings.

With reference to NASA’s 1977 Voyager Golden Record, The Golden USB (on view through December 3, 2017) captures land, water, air, plants, animals, and fragments of nature, along with human culture, industry, and invention. In considering the prospect of interstellar trade, Richard Ibghy and Marilou Lemmens raise timely questions about the limits of commodification, including the ownership of the Earth and its life forms. This exhibition is curated by Sunny Kerr, Curator of Contemporary Art. 

The collaborative duo Ibghy and Lemmens is the inaugural Stonecroft Foundation Artist-in-Residence, hosted in collaboration with Queen’s Film and Media. The artists visited Kingston for research and production phases, beginning in mid-March. They have collected “entries” from a diverse group of artists, technicians, poets and scholars to create this new Canada-focused chapter of their ongoing project. In early September and mid-October, they will return to Kingston to elaborate on the exhibition’s themes.

A publication will follow the exhibition in winter 2018, reflecting Ibghy and Lemmens’s oeuvre to-date and feature essays by Lorna Brown and Sunny Kerr.