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.

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.


Mounir Fatmi in two pavilions for the 57th Venice Biennale


Mounir Fatmi is currently exhibiting in two pavilions for the 57th Venice Biennale.

The Absence of Paths,  the first Tunisian Pavilion in Venice since 1958, uses performance and installation staged in different venues across Venice, as well as an interactive online platform featuring text, video, audio, recipes, and photography, to generate further inquiry into issues surrounding human migration. For the exhibition, Mounir Fatmi presents a series of photos from The Exile Pavilion, a traveling project he launched in 2016 that inverts the established structures of temporary exhibitions, questioning ideas of nationhood, exile and various forms of displacement. Curated by Lina Lazaar and commissioned by The Presidency of the Tunisian Republic and the Tunisian Ministry of Cultural Affairs, The Absence of Paths collaborated with MOAS, the Migrant Offshore Aid Station, a charity that has helped approximately 35,000 people, mostly refugees escaping violence, persecution, and hardship. 

  History is Not Mine,  2013, single-channel video with sound, 5 min. 

History is Not Mine, 2013, single-channel video with sound, 5 min. 

Fatmi's video, History Is Not Mine, 2013, will be exhibited in the NSK-State Pavilion, a unique, independent pavilion that aims to rethink what a contemporary state can be, offering an open form of citizenship which contrasts with that generated by spatially defined states. In the video, 'History is not mine', a man repeatedly strikes the keys of a typewriter with hammers, the red ribbon streaming across the white paper like a stream of blood against the otherwise black and white imagery. The noise and action become increasingly disturbing, at times violent, calling into question not only the difficulties of language and communication but the danger in not learning from history, which too often repeats itself, particularly when it comes to land, territory, and nationhood. NSK State in Time was founded by the artist collective Neue Slowenische Kunst (NSK) in 1992. NSK State Pavilion will take place at Ca'Tron, Iuav University, Santa Croce 1957/Calle del Forno 1960, from May 11-July 15, 2017.


  No Gravity , 2017 

No Gravity, 2017 

James Clar's Solo Exhibition "DISTANT LIGHTS" opens with a reception on September 30 from 5-8PM at a STRONGROOM pop-up gallery at 188 Grand Street in Newburgh, NY. James will give an artist talk starting at 5:30PM.

Clar’s work uses controlled light and sculptural light systems in order to analyze and observe the effects of media and technology on our perception of reality, time, and space. Using various forms of technology as his medium, he critiques their modifying effects on human behavior and ability to enhance or inhibit communication. 

For his Strongroom installation, James looks to the connection between the spiritual or otherworldly in relationship to our increasingly digital reality. The exhibition includes a central light piece that draws the viewer to a door leading nowhere, with shadows emanating from below. Titled “Nobody’s home,” it references a larger existential question of whether someone or something is “home”. With no tangible form to grasp, instead we are presented with a ghostly presence and a non-existent space. 

"DISTANT LIGHTS" will be open for public hours Sundays through October 22nd, 12-5 PM (October 1, 8, 15, 22).


Frieze Projects 2017: Lucy + Jorge Orta

Lucy + Jorge Orta will participate in the 2017 edition of Frieze Projects, a non-profit program of of new artist commissions at Frieze London with a new installation of Antarctica World Passport Bureau. Curated by Raphael Gygax (Migros Museum für Gegenwartskunst, Zurich), this year's Frieze Projects includes 11 artists and 7 new artworks spanning literature, theater, design and installation, all with a strong performative streak. 

"The Antarctica World Passport Delivery Bureau is a public engagement artwork that invites to visitors to register for the Antarctica World Passport, and become members of the ever-growing Antarctica World community. During exhibitions of the artists’ work, customs officers from around the world distribute facsimile passports to passers-by. With over 50,000 passports now in circulation, the Antarctica World Passport embodies the notion of Operational Aesthetics, as its ambition is to mobilize the citizens of the world to protect the Antarctic, to take action against the disaterous effects of global warming, and to strive for peace.

Michael Rakowitz Artist Talk, Book Signing, & Enemy Kitchen

To coincide with the opening day of his first US survey exhibition at MCA ChicagoBackstroke of the WestMichael Rakowitz will join MCA Senior Manilow Curator Omar Kholeif for an in-depth artist discussion on Saturday, September 16, 2017 from 3PM to 4PM.

 Michael Rakowitz,  May the Arrogant Not Prevail , 2010. Found Arabic packaging and newspapers, glue, cardboard, and wood; 235 ¼ x 194 ¼ x 37 ½ in. (597.5 x 493.4 x 95.3 cm). Collection Museum of Contemporary Art Chicago, gift of Marshall Field’s by exchange, 2015.4 Image courtesy of the artist and Rhona Hoffman Gallery

Michael Rakowitz, May the Arrogant Not Prevail, 2010. Found Arabic packaging and newspapers, glue, cardboard, and wood; 235 ¼ x 194 ¼ x 37 ½ in. (597.5 x 493.4 x 95.3 cm). Collection Museum of Contemporary Art Chicago, gift of Marshall Field’s by exchange, 2015.4 Image courtesy of the artist and Rhona Hoffman Gallery

On Sunday, September 17, from 3:15PM to 4PM, Michael Rakowitz will sign copies of his new MCA catalogue Michael Rakowitz: Backstroke of the West at Expo Chicago, booth #419 (Rhona Hoffman Gallery). The catalogue is the first major publication of the acclaimed Iraqi-American artist's work.

Catalogue_Backstroke of the West.jpg

Michael Rakowitz's Enemy Kitchen "explores the connections between hostility and hospitality as veterans of the Iraq War serve Iraqi recipes to the public through a retrofitted food truck on the plaza." The project will be open until the food runs out on the following days:

Sat, Sep 16, 2017, 2:00 pm    
Fri, Sep 22, 2017, 6:00 pm    
Sun, Oct 1, 2017, 2:00 pm    
Fri, Oct 6, 2017, 6:00 pm    
Sun, Oct 22, 2017, 12:00 pm 

Meals are free but limited

 Michael Rakowitz,  Enemies and Kitchens , 2012. Mixed media installation. Courtesy of the artist, Lombard Freid Projects, the Smart Museum of Art, and Rhona Hoffman Gallery

Michael Rakowitz, Enemies and Kitchens, 2012. Mixed media installation. Courtesy of the artist, Lombard Freid Projects, the Smart Museum of Art, and Rhona Hoffman Gallery