MUM , the acronym used to title a series of Rogan’s small interventions on found magazines, stands for “Magic Unity Might,” the name of a vintage trade magic publication. In the series, Rogan alters the magazine’s pages by erasing the image of the magicians doing their tricks, leaving only the background of their performances on view. These contexts range from the more overtly staged scenario in Silencer #16 —the erased magician is about to perform a trick on his assistant trapped on an odd, almost dada looking box—to the more “colloquial” Silencer #17 in which the absent magician’s silhouette appears in what seems to be a children’s hospital. Rogan’s interventions attest to their own creation by way of the subtle marks and erasure used to remove the original visual information. Such evidence of the artist’s hand echoes the magician’s sleight-of-hand in the image and suggests the illusory character of all representation. By extension, the remaining white voids are uncanny, ghostly stand-ins for the performer and artist who both haunt the scene.
Based in the San Francisco Bay Area, Will Rogan’s practice reflects the poignant, the ironic, the disastrous, and the beautiful in his surrounding urban and domestic landscapes. In the form of photography, video, and sculpture, his interventions often highlight the profound and analytical in everyday life. Taking a playful stance on mundane situations and structures, Rogan’s work merges the critical with the poetic. He is also the co-editor and founder of the quarterly journal of editions, The Thing .
Every work in Hoeber’s 2011 series Execution Changes is titled in alphanumeric code...
Haendel’s series Knights (2011) is a set of impeccably drafted, nine-foot-tall pencil drawings depicting full suits of armor...
#17 Pink is a photogram, a photographic image produced without the use of a camera...
Physical and mental exploration have been founding elements in Joachim Koester’s research for several years...
Shot in the streets of Tokyo, Collapse , is a meditation on the passing of time and on the complicated way in which we are smashed between the past and the future...
Every work in Hoeber’s 2011 series Execution Changes is titled in alphanumeric code...
Haendel’s series Knights (2011) is a set of impeccably drafted, nine-foot-tall pencil drawings depicting full suits of armor...
Forest Gathering N.2 is part of the series of photographs Beneath the Roses (2003-2005) where anonymous townscapes, forest clearings and broad, desolate streets are revealed as sites of mystery and wonder; similarly, ostensibly banal interiors become the staging grounds for strange human scenarios...
The film Sometimes It Was Beautiful by Christian Nyampeta poetically addresses the systemic conditions leading and emerging from the 1994 Rwandan genocide, which had lasting and profound effects on Rwanda and neighbouring countries like Congo...
Des lignes de désir — Exposition félicités 2023 — Beaux-Arts de Paris Palais des Beaux-Arts — Exhibition — Slash Paris Login Newsletter Twitter Facebook Des lignes de désir — Exposition félicités 2023 — Beaux-Arts de Paris Palais des Beaux-Arts — Exhibition — Slash Paris English Français Home Events Artists Venues Magazine Videos Back Previous Next Des lignes de désir — Exposition félicités 2023 Exhibition Mixed media Affiche de l’exposition des félicités 2023 des Beaux-Arts de Paris © Beaux-Arts de Paris Des lignes de désir Exposition félicités 2023 Ends in about 1 month: January 24 → March 17, 2024 Des lignes de désir presents the twenty-eight artists who graduated from the Beaux-Arts de Paris with a Diplôme National Supérieur d’Arts Plastiques and a Congratulations from the Jury in 2023...
In Fordlândia Fieldwork (2012), Tossin documents the remains of Henry Ford’s rubber enterprise Fordlândia, built in 1928 in the Brazilian Amazon to export cultivated rubber for the booming automobile industry...
This untitled work from 2012 is a print originally made as part of the Wattis Institute for Contemporary Art’s artist limited edition series...
Her 2016 video installation quotes the sitcom-as-form and also draws from a 1907 comedic short, Laughing Gas...
Conceived as a large-scale mural-like projection, Color of History, Sweating Rocks is a neo-futuristic, hybrid film that combines cinematic language, collage, animation, and inventive forms to highlight the plight of the peoples of the Sahara—and refugees in general—who have been displaced by oil-mining....
Shot in the streets of Tokyo, Collapse , is a meditation on the passing of time and on the complicated way in which we are smashed between the past and the future...
Will Rogan’s video Eraser (2014) shows a hearse parked in a clearing amidst leaf barren trees...
Reborn, 2010 is a three-channel video by Desiree Holman that questions ideas of motherhood and the maternal instinct...
Eclipse is a series of screenprints from Jordan Kantor’s larger vitrine installation that included reworkings of a single image of a small group viewing an eclipse through shielding cut-outs...
Chris Johanson’s paintings, sculptures, and installations break down everyday scenes and commonplace dramas into colorful forms; the darkest sides of humanity are invoked with humor...
Apartment on Cardboard (2000) is an exterior view of an abstracted apartment building...
During the week after the the 8th Festival de Performance de Cali (20-24 November 2012), San Francisco will become the setting of a multi-venue series of events organized by the Cali-based collective Helena Producciones (Wilson Díaz, Claudia Patricia Sarria-Macías, Ana María Millán, Andres Sandoval Alba, and Gustavo Racines)...
In Monster (1996-97), the artist’s face becomes grotesque through the application of strips of transparent adhesive tape, typical of Gordon’s performance-based films that often depict his own body in action...
Sung Hwan Kim created the drawing push against the air 01 during a rehearsal for his eponymous 2007 performance at De Apple (as part of Prix de Rome), Amsterdam, and Project Arts Centre, Dublin...