Biennale, Dog is an appropriation of the posters made to promote biennial art exhibitions. Displayed alongside the official marketing materials of biennials (Shanghai, Berlin, Venice, etc.) Xu’s works provide a satiric and provocative alternative to the official system and make publicly visible images of many realities. Biennials help various localities produce their own art scenes and provide playgrounds for the international art world to expand its activities and influences. This is a highly contradictory process that renders local productions globally visible, but yet risks reducing their complexity, difference, and independence. In a way, these temporary art exhibitions are the perfect example of the negative and positive impact of globalization that affects both social reality and personal destiny. Xu’s Biennials enact and publicize different “possible scenarios” that these contradictory factors might effect on the social imaginary.
Xu Tan began his career as a member of the well-known Guangzhou-based artist collective Big Tail Elephant. His installation and video works explore issues crucial to the post-Cold War, post-colonial, and increasingly globalized world like urbanization, the geopolitical relationships between the developed and developing worlds in terms of political, economic, and cultural production and their impacts on personal lives and their expressions. Xu’s works are often site-specific, dealing intimately with everyday experiences to critically demonstrate the tension between globally circulating images, modes of communication, and the impact they have locally. Powerfully and intelligently, Xu’s work calls for contemporary art to engage with social reality in our time.
Qui vivra verra, Qui mourra saura is an installation by Minia Biabiany composed of the plan of a house made out of strips of salt, and a “garden” made of ceramic pieces, hanging from the ceiling and on the floor, and non woven fabric...
Pierre Leguillon features: “Diane Arbus: A Printed Retrospective, 1960-1971” December 6, 2008 – February 7, 2009 This first retrospective of the works of Diane Arbus (1923-1971) ever organized in France, brings together all the images commissioned to the New York photographer by the Anglo-Saxon press in the 1960s...
Shot in black and white and printed on a glittery carborundum surface, Black Hands, White Cotton both confronts and abstracts the subject of its title...
Unraveling, or “unweaving” sections of fabric, Maria Fernanda Plata arrived at delicate and tenuous-looking forms, both ghostly and gentle...
5 Ways To Integrate Art Within Urban Infrastructure Home » 5 Ways To Integrate Art Within Urban Infrastructure ART & DESIGN Nov 29, 2023 Ξ Leave a comment 5 Ways To Integrate Art Within Urban Infrastructure posted by Kelly Schoessling This beautiful murals is one of the ways to integrate art within urban infrastructure...
In the Trenches: Artists Encounter the Los Angeles River, Part 1 – Art and Cake August 30, 2023 August 30, 2023 Author In the Trenches: Artists Encounter the Los Angeles River, Part 1 Michelle Robinson 2023 What Was 4th Street Acylic paint on print 40×60 in By Lawrence Gipe In the mid-1980’s, I lived on Santa Fe Avenue and 7th Street, and the idea of Los Angeles having a “river” was a bit of a joke...
Converting is a piece about the Orang Laut, often called Sea Nomads, that inhabited the Riau archipelago...
British Street Artist Hush Makes His Curatorial Debut At NY’s Vandal – Art Report News ARTISTS Artist Highlights Artist Interviews Studio Visit VIDEOS ART+ Community Listicles No Result View All Result News ARTISTS Artist Highlights Artist Interviews Studio Visit VIDEOS ART+ Community Listicles No Result View All Result No Result View All Result British Street Artist Hush Makes His Curatorial Debut At NY’s Vandal by December Projects Jan 22, 2016 in Artist Interviews 0 Installation Close Up, Hush...
Ambiguous Gestures takes as its point of origin a film Gmelin discovered in his father’s archive...