Tag: SculptureCenter
Lynda Benglis & Peter Stevens
Knight’s Move //
Leopards in the Temple @ SculptureCenter
Leopards in the Temple
Lothar Baumgarten, Strauss Bourque-LaFrance, Nina Canell, Latifa Echakhch, Aleana Egan, Patrick Hill, Nina Hoffmann, Kerstin Brätsch and Adele Röder (DAS INSTITUT), Lucas Knipscher, Kitty Kraus, João Maria Gusmão and Pedro Paiva, Lucy Skaer, Kathrin Sonntag. Curated by Fionn Meade
Leopards in the Temple is a parable by Franz Kafka that reads as follows:
“Leopards break into the temple and drink to the dregs what is in the sacrificial pitchers; this is repeated over and over again; finally it can be calculated in advance, and it becomes a part of the ceremony.”
The group exhibition of the same name focuses on moments of metamorphosis, paradox, and formal adjacency, borrowing from the parable an ability to promote multiple readings of succinct forms and extraordinary occurrences. Protean moments where materials elide, transform, and overlay take place in the work of Lothar Baumgarten, Nina Canell, Strauss Bourque-LaFrance, and Kitty Kraus, while the rules of image production are triangulated and problematized in the painting configurations of Patrick Hill, Lucas Knipscher, and Kerstin Brätsch and Adele Röder’s DAS INSTITUT. Kathrin Sonntag and Nina Hoffmann (working in collaboration) and the collaborative duo João Maria Gusmão and Pedro Paiva present slide and film projections that explore the uncanny through acts of magnetism, doubling, and transference. And sculpture is framed and distributed as an effaced and often fictional artifact in the work of Latifa Echakhch, Aleana Egan, and Lucy Skaer. Gathering together an international group of artists, the works in this exhibition share an extra-linguistic interest in moments of translation and a resistance to fixed forms.
Lilibeth Cuenca Rasmussen
Lilibeth Cuenca Rasmussen: The Present Doesn’t Exist in My Mind and the Future is Already Far Behind
at Performance Project @ University Settlement
A one-woman performance inspired by the writings of Valentine de Saint-Point and Mina Loy that reflects on lust, romanticized sexuality, and the subjugation of women. Collaborating with composers Pete Drungle and Brian Bender, motion graphic artist Brian Close, and costume designer Lise Klitten, Cuenca Rasmussen merges choreography, song, architecture and costume in a multi-media performance.
Lilibeth Cuenca Rasmussen (b. Manila, Philippines, 1970) works primarily in video and performance to explore notions of gender, national identity, and social relations. Her Danish-Filipino background often serves as a point of departure for work. She is a graduate of The Royal Danish Academy of Fine Arts, and a 2004 recipient of the Danish Art Council’s three-year grant. Her work has been presented both in the United States and internationally at institutions such as U-Turn Quadriennial, Copenhagen; Brooklyn Museum, New York; Malmö Kunst Museum, Sweden; the Museum of Contemporary Art, Seoul, South Korea and Praxis: Art in Times of Uncertainty, Biennale of Contemporary Art, Thessaloniki.