the Anthropocene is still waiting for an adequate artistic response.
the Anthropocene is still waiting for an adequate artistic response. <|startoftext|>In a recent solo exhibition, the New York–based German artist Tobias Rehberger presented nine new paintings, all from 2015. The works were made using the same technique used in the drawing process that had been a mainstay of his practice for more than twenty years. Using the same palette and the same acrylic medium, he was able to make a series of paintings that are all the same size, and all depict the same scene, but in a radically different light. The paintings are arranged on the wall in a grid, and they are painted in a single color, which is then removed, allowing the background to emerge. The artist has stated that the grid in this case is not a fixed, but a temporary, arrangement, and the painting process itself is not constant, but rather it is cyclical. The grid is the crucial element in this work, which functions as a metaphor for the passage of time, a symbol of continuity and change.The paintings are represented by a series of black and white monochrome bands, which are all the same size, and the range of colors is limited to black, white, and gray. The bands themselves are arranged in a way that suggests a sort of modular composition, a relation between the colors and their placement on the canvas. The strips of canvas that form the grid are applied to the canvas in a way that recalls the kind of painting technique used in the early 20th century, when the canvas was first stretched and then painted, and it was necessary to maintain a constant distance between the marks and the canvas surface. Rehberger paints on the canvas and uses brushes to spread the paint around, creating an illusionistic depth effect. The layers of paint that he uses, like shadows, become part of the surface, and they are at once the object and the background.The paintings are made from a painting technique that is very simple and almost childlike, one that is able to create a very convincing illusion.
the Anthropocene is still waiting for an adequate artistic response. <|startoftext|>The gallery is bare except for two walls, which are covered with white paper and a small table, which is covered with a white cloth. A book on the wall bears a title: On the occasion of the opening of the exhibition, a photo of the gallery was taken. A text in the book tells us the exhibition is to be interpreted as a self-portrait. We might interpret this as a dig at the art world or a commentary on the idea of the self as a site of ambiguity. On the wall, a picture of the gallery, taken by a passerby, was printed. On the table, a white cloth was folded. In the next room, a video was projected. In the video, a woman looks at a white cloth that is also a white cloth, which is actually a blue one, a symbol of the white cloth. The video shows the woman, who is also a woman, standing with her back to the camera and holds a white cloth. The video is about a very small affair, but the viewer is drawn into the moment of intimacy. In the final room, a white cloth was folded. At the same time, a video was projected. The video shows the woman, who is also a woman, standing with her back to the camera. The video is about an intimate moment, but not an intimate moment that could be seen only in a private space. The intimacy is a moment in a public space, but the spectator is placed in a different space. The video is about a small thing, but the intimacy of a small thing, and the space of the spectator, are two different spaces. The video is about a small thing, but its intimacy is a moment in a public space. The video is about a small thing, but it is also about something much bigger.
the Anthropocene is still waiting for an adequate artistic response. <|startoftext|>In this show, a large number of works were made in collaboration with the artist Ulay, who has lived in Berlin since 1991. They are made up of various materials that the artist has found in flea markets, including paper, plastic bags, old newspapers, and a string of pearls. The materials have been separated into various categories and displayed on tables, in glass vitrines, on shelves, or in boxes. The viewer was invited to take a piece of each material and to look at it, to touch it, to collect it, and to view the whole collection together. The collection is made up of various objects, ranging from small pearls, to a piece of newspaper, to a large number of pearls, which had been individually arranged in rows. The idea is to create a formal space that is completely accessible and that is suggestive of the physical space of the gallery.The materials in the show are not new, and this is evident in the works themselves, which are both simple and complex. There is an obvious affinity with the work of the young and young artist Ilaria Pevsner, and this is also evident in the works on display. The pearls and the pearls of the show form a kind of catalogue of the natural world, a kind of garden of material. They are scattered throughout the space, and they are not only functional but also symbolic. In this exhibition, they are a kind of landscape in space. They are not mere things, but they are not only in the world, but they are also found objects that the artist has transformed into art.The pearls, which are arranged in a gridlike pattern, are also reminiscent of images found in old newspapers, and they are the basis of the entire show. The pearls, however, are not found in nature, but they are gathered from the street.
the Anthropocene is still waiting for an adequate artistic response. <|startoftext|>Peter Zumthorpe, The Great Race, 2012, color photograph, 20 × 20". From the series The Great Race, 2012. THE GREAT RACE, 2012, is the first photograph in Peter Zumthorpe's exhibition The Great Race. It is a clear image, an intensely bright image, a kind of apocalyptic sun. The artist's point of departure is a photograph taken by a German journalist of a 1970s New Zealand team, the A-Team. The photograph shows the A-Team team, who themselves are New Zealanders, standing on a stage in front of a backdrop of a New Zealand flag. The photograph shows the participants from a distance, but a closer look reveals that they are all wearing the same long-sleeved white shirts. They are all standing in the same place, facing the same direction. A few of them are holding their own, but most are sweating profusely. They are all on a tightrope. They are still in the same position, but the distance between them has shrunk. The photographer's camera is fixed on the A-Team, and the images' framing is the same, but the distance between them is now reduced. The A-Team's gestures are still there, but they are no longer the drivers of the race. They are all on their feet.The Great Race was taken by a member of the team's communications team. It shows a group of five people in a meeting place: a large, open air gallery with a long, narrow space between the floor and the ceiling. The room is dark, and a microphone hangs from the ceiling. The group's meeting is a very public event, with the only sound being the members' murmuring, so it's not very public. The participants are all in the same position, but they're not in the same place. The photograph's framing changes from image to image.
the Anthropocene is still waiting for an adequate artistic response. <|startoftext|>In a recent essay, critic Ian Wallace highlights the fact that, by the mid-1990s, the idea of a free and open society was largely discredited as a utopian fantasy. He points out that, by then, the idea of a society based on equality and justice had been thoroughly discredited, and that the idea of a truly open society was becoming increasingly the preserve of the far-right and far-left. Wallace argues that this is the political situation of the United States, and his analysis of the ways in which the political system is controlled by and for corporations is an important part of the analysis. Yet, in his recent exhibition, our understanding of the politics of capitalism is still in flux, and there are many unanswered questions. This is especially true for the artists involved: The works in this show are often of radically different nature—and therefore involve complex, often uncomfortable, and sometimes contradictory positions. In the case of All Things Being in Order, 2000–2002, the artist has taken on the role of both historian and social critic. The show consists of two large-scale works, each of which represents a world of places. The first of the two works is a series of photographic diptychs, in which the artist appears in front of a wall and a wall with a wall of his own. The other work consists of two pictures of the artists studio, in which he is seen from behind, standing in front of the wall, with the wall behind him, and the two images of his studio on the floor below. The two images are of a window on the street, which serves as a mirror image of the street. The street is a place of movement, a space of activity, a space of passage and opportunity, and it is here that the two images are seen. The images are also the two parts of a single image, the image of a window and the image of a window on the street.