All works from the exhibition, Linder, at Blum and Poe until October 26th.
Mark Rothko was born 110 years ago today. To mark the occasion, here’s Simon Schama’s episode on the painter from his 2006 documentary series, The Power of Art.
The 6 finalists for this year’s round of the Fourth Plinth commission have now been announced. Marcus Coate, Hans Haacke, Liliane Lijn, Ugo Rondinone, Mark Leckey and David Shrigley are all in the running, with the two successful proposals set to be determined by the Fourth Plinth committee in early 2014. Included in this year’s line up is a horse skeleton covered in stock exchange prices (Haacke), a pair of dancing robotic cones (Lijn) and LOL’s personal favourite, a 10 metre high ‘thumbs up’ sculpture by David Shrigley entitled ‘Really Good’. The winning works will go on display in Trafalgar Square in 2015 and 2016 respectively. Read more about the finalists here.
Elmgreen and Dragset’s Prada Marfa installation is under threat. Occupying a desolate stretch of Texas highway, the faux store was created by the Scandinavian duo in 2005 and funded by New York non-profit organisation the Art Production Fund. Its presence has been compromised thanks to a legal dispute earlier this year over a Playboy-sponsored Richard Phillips installation a few miles down the road.
The Texas Department of Transportation classified Phillips’ large ironwork version of the infamous bunny logo as a sign, not an artwork, and has called for its removal because it violates the 1965 Highway Beautification Act (which prevents logos being posted along the highway without a special permit).
Elmgreen and Dragset see the branding on Prada Marfa as essential, stating that “It was meant as a critique of the luxury goods industry, to put a shop in the middle of the desert.” Because the artists are displaying the Prada logo on land where that is prohibited however, their work, too, has now been classified by the Department as an “illegal outdoor advertising sign”.
With the Department of Transportation “still working on the matter”, the fate of Prada Marfa now hangs in the balance. “If they want to remove it because of bureaucracy, we tear it down,” say Elmgreen and Dragset. “And then we can say that one of the quite well-known permanent artworks – that hasn’t cost taxpayers anything and that has been elected one of the most-worth-seeing roadside attractions in the States – is no longer.”
A self described ‘suspended act of simulated stimulation towards the environment’, The Humping Pact is a collaborative project by Berlin-based artists Diego Agulló and Dmitry Paranyushkin that basically involves mass ‘humping’ performances in public (often industrial) locations. Despite the array of bodies, each work actually only involves the two artists, whose ‘humps’ are looped and spread across the frame. Sure it’s pretty lightweight, but it beats Spencer Tunick any day!
Carriageworks (in association with Sydney Festival) has secured Chance, a major installation by Christian Boltanski, for their 2014 program. Valued at approximately $200,000 according to Carriageworks Director Lisa Havilah, the work involves over two kilometres of scaffolding weighing more than 16 tonnes. The installation, which can be walked through, also includes a mechanised loop that runs like a printing press and features photographs of the faces of Polish newborns and deceased elderly Swiss people. Chance emulates the rhythm of birth and death and, like so much of Boltanski’s work, explores memory, mortality and loss. The work was originally created for the French Pavilion at the 54th Venice Biennale in 2011. This will be the first time a major work by the artist has been shown in Australia.
Chance opens in Carriageworks’ main foyer on January 10th, 2014.
Patrick Lundberg has been awarded the 2014 Frances Hodgkins arts Fellowship. Run by the University of Otago, the fellowship provides a New Zealand-based artist with a studio space and the salary equivalent to a full time university lecturer for a 12 month period. This will be Lundberg’s first opportunity to concentrate exclusively on his practice and he plans to develop one distinct body of work, making paintings that he describes as ‘games or instruments’. He first presented this type of work in the exhibitions Points, planes, eddies, regresses at Robert Heald in Wellington in 2012 and Games at Ivan Anthony in Auckland in July. Read the full list of fellows here.