In the self-explanatory show entitled Video, an Art, a History 1965 – 2010, the history and evolution of the video art genre are recounted through 50 video works and installations, drawn from the collections of both the Singapore Art Museum and Centre Pompidou. Having developed in tandem with the apparatus of television and the analogue and then digital video cameras, video art’s reconfiguration of the[…..]
In The Body in Pain: The Making and Unmaking of the World, scholar Elaine Scarry describes the inability of language to interpret and express physical pain: “By its very nature, pain resists, even destroys the language that grapples with it.” But what of the capacity of visual art to interpret and translate this bodily experience? “For a Long Time”, on view now at Roberts &[…..]
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[…..]
What happens at the moment when energy becomes material, and how can we even dream of documenting it? The question has wide-ranging implications, from the memories stored in everyday objects to the effects of prayer. Ranu Mukherjee’s solo exhibition at Frey Norris Contemporary and Modern, Absorption Into the Nomadic and Luminous, takes up these issues. A former painter who now works mostly with photography and[…..]
For this edition of Fan Mail, sculptor and 3D digital artist Dave Beck has 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! Looking through artist Dave Beck‘s portfolio, one[…..]
Stitching together digital, sculptural and natural ephemera, Israeli artist Ilit Azoulay makes photographs that hover between the miniature and the gigantic. She gathers small abstract accretions of wire, plastic, shells or stone that have been cast aside, left in the shadowed hollows of street corners and alleyways. These finds are organized along with old pictures into groupings that follow the loose grids of shelves, boxes[…..]
This show reminds me of the time I danced for hours at a club in Cologne, caught part of an arthouse film next door, and then somehow ended up at a bar where a bunch of people I didn’t know were drinking like it was the end of the earth. Ok, so that never happened. But I feel like Cosima von Bonin’s current show, The[…..]
