A room filled with a new series of distinct wall works, Hypoxia 1-6 (all 2011) can seem overwhelming at first. Each piece is a mess of metal tubing, cables, motors, microphones, amplifiers and compressors that activate expandable balloons covered in brightly colored braided sleeving. But as you walk around the room, moving between one work and the next, the distinctive intricacies of each individual piece[…..]
The natural tendency, when attending a show that promises to give you a sampling of a locale, is to define that culture through the exhibition’s cohesion. With everyone in Berlin identifying as an artist (a little hyperbolic), the saturation leads to a lot of “bad” art and “good” art, however you personally define it, making pinning down what is vital in the art world here[…..]
For this edition of Fan Mail, Mississippi based artist Dominic Lippillo and New York based artist Mark Schoon have been selected from a group of worthy submissions. If you would like to be considered, please submit to info@dailyserving.com a link to your website with ‘Fan Mail’ in the subject line. Two artists are featured each month – the next one could be you! Dominic Lippillo and Mark Schoon[…..]
Memory is deeply connected to the senses, far beyond the linear nature of storytelling. Words are often the farthest from the real “truth” of a scenario, leaving space for memory and imagination to take place. Sight and sound, smell and touch fill in the gaps that words cannot describe, and it is at this brink that Hajnal Németh’s installation CRASH – Passive Interview rests. Exhibited[…..]
Over a lifetime of visiting museums, you learn that all souvenirs have a price point, from the dollar-fifty commemorative postcard to the pieces in the collection itself. These prized mementos, selected, brought home, catalogued and displayed, represent the collector’s forays to classical or far-flung sites. My favorite disruption to this cycle is a hall of life-sized plaster casts of classical Greek and Roman architecture at[…..]
Is this a throwdown? It’s tempting to think so, since the title, Greater LA, is obviously a riff on the seminal P.S.1 survey Greater New York, and is installed in the same type of beat-up SoHo loft where major New York art history went down in the 1960s and ‘70s. But don’t get too excited. Any sense of bi-coastal competition erodes quickly when you realize[…..]
Like a newspaper in its matter of fact presentation of content, Cady Noland / Santiago Sierra at KOW Berlin, curated by Alexander Koch and Nikolaus Oberhuber, appears purposefully removed of emotion. We never make eye contact with other humans, backs are often turned, or we find ourselves averting our eyes for our own protection. We stand on the outside looking in. No one makes a[…..]
