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1 March – 1 June 2014
Art Institute of Chicago
Although Indian artist Dayanita Singh (born 1961) began her career as a photojournalist, she now considers herself “a bookmaker working with photography.” Over the last 30 years, she has developed a way of working in fluid, interconnected photographic series that she revisits in various contexts—often in book form. Singh has referred to the photographs in her vast archive as individual “words” that she arranges and rearranges into diaristic narratives dealing with Indian life and culture.
While the artists’ book has been her primary mode of display and communication, in 2013 Singh began constructing what she calls portable “Museums”—large wooden structures that can be opened and placed in various architectural configurations, each holding 70 to 140 photographs that span her artistic oeuvre. For each presentation, Singh rearranges the photographs so that at any given time only a portion of the photographs is on view, while others wait their turn within the structure. This installation brings together one of Singh’s earliest photographic series, Myself Mona Ahmed (1989–2001), newly acquired by the Art Institute of Chicago, with a recent related Museum structure, Museum of Chance (2013).
Juan Uslé: Dark Light
27 February – 25 May 2014
It is for the first time that the series of works of the so-called “black paintings”, “Soñé que revelabas” (“I dreamed that you appeared”), by Spanish painter Juan Uslé (Documenta IX and others) is presented in a German museum. Since 1997, Uslé has been creating this series of paintings which currently comprises 50 works and which takes a central position in his oeuvre. In his works belonging to “Soñé que revelabas”, which are mainly painted at night, Uslé realizes a highly concentrated, meditative disquisition on the structural conditions of painting and the painting process. Every brush mark on these works is charged in two different ways: On the one hand, they depict the painterly gesture and thus classify themselves as part of the tradition of self-reflective abstract painting. On the other hand, every brush mark can be regarded as the painter’s heartbeat which turns the works into manifestations of the painter’s direct and “sensual” bodily connection with his paintings.
INSERT 2014 / The Sharp Edge of Global Contemporary
INSERT 2014 is a constellation of conversations with leading thinkers from around the world and across disciplines. Produced by the Inlaks Shivdasani Foundation and supported by the Goethe Institut / Max Meuller Bhavan, and Pro Helvetia, Swiss Arts Council, with Raqs Media Collective as Artistic Directors, INSERT renews focus on the Artist as a generator of ideas, who questions things the world takes for granted.
A central focus of INSERT 2014 will be an exhibition of site specific and other art works by over 20 critically acclaimed artists presented at Mati Ghar, Indira Gandhi National Centre for the Arts (IGNCA).
Tacita Dean: JG
24 January – 4 May 2014
Artists talk: 5pm, Friday 24 January
Utah Museum of Fine Arts, Salt Lake City
JG is a new film project by internationally recognized artist Tacita Dean. It is inspired by her correspondence with British author J. G. Ballard (1930–2009) regarding connections between his short story ‘The Voices of Time’ (1960) and Robert Smithson’s iconic earthwork and film, Spiral Jetty (both 1970). JG tries to respond to Ballard’s challenge-posed to Dean shortly before he died—that she should treat the Spiral Jetty as a mystery that her film would solve. Employing her patented technique of “aperture gate masking,” in which she uses stencil-like masks to alternately cover up and re-expose her film, Dean combines images shot at different locations and times to generate visual and conceptual juxtapositions within the space of the individual 35mm frame.
Cornelia Parker in conversation with Jack Southern
3pm, Saturday 25 January
For some years Cornelia Parker’s work has been concerned with formalising things beyond our control. In containing the volatile and making it into something that is quiet and contemplative like the ‘eye of the storm’. Through a combination of visual and verbal allusions, her work triggers cultural metaphors and personal associations, allowing the viewer to witness the transformation of the most ordinary objects into something compelling and extraordinary.
For more information, or to buy tickets, please visit The Drawing Room website.
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