New work from Wes Lang:::

Tracey Rose
The Cockpit

MC is pleased to present the last exhibition at its Los Angeles location: Tracey Rose’s The Cockpit. In what could seem a fitting gesture for the occasion, Tracey Rose has come round to killing God in this latest video work. A theatrical piece commissioned by the South African Broadcasting Corporation, The Cockpit is a world of murder and revenge populated by stylized characters like the jester, the soldier boy, Space Man, Lil Bo Beep, the wise Redd Indian and the adorably clueless Jesus Potter Heart. A series of personage photographic portraits accompany the video. Together they form a patchwork of cultural references plaguing national, religious and cultural consciousness, pounding out the absurdities and general mismanagement of institutionalized cultural discourse. Although Rose is not her customary every performer this time, she is nonetheless omnipresent in the direction, script and in an improvised moment when the characters on their way to killing God leisurely and explicitly gossip about the artist’s sexual exploits.

MC will also be showing a renewed version of The Cunt Show, in which the artist, dressed as Mami, a head teacher character, speaks a vitriolic response to institutional feminism through the voices of two sock puppets. This video performance recreates a talk given by the artist during Global Feminism, an exhibition at the Brooklyn Art Museum (of which the institutional logo is recognizable in the background throughout the performance). In this version, Rose gives Mami a video audience in the form of a silent, black and white projection of 17 audience members. Silent and slow, seemingly in a dark cave, the audience hangs among the viewers, and looks for the shadows of knowledge that Mami projects. In a series of photographs complementing the video, some of these characters from the crowd are portrayed in a style that recalls the old movie bills of time past.

Tracey Rose has widely exhibited in Africa, Europe and the US. Her work was recently seen in “El mirall sud-africà” at the Centre De Cultura Contemporània De Barcelona, Spain, “Mouth Open, Teeth Showing: Major Works from the True Collection” at the Henry Art Gallery in Seattle, “Memories of Modernity” in Malmo, Sweden, “Check List: Luanda Pop” at the African Pavilion in the 52nd Venice Biennale, Italy, “Heterotopias” at the Thessaloniki Biennale in Greece, and “Global Feminisms” at The Elizabeth A. Sackler Center for Feminist Art in Brooklyn, New York (all 2007). Caryatid & BinneKant Die Wit Does and Imperfect Performance: A tale in Two States are among her most recent live performances, seen at the Dusseldorf Art Fair in Germany, and the Moderna Museet in Stockholm, Sweden, respectively.

MC Kunst

New evil works from Kasper, looking very good:::
Kasper Sonne
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MARSHA PELS
Dead Mother, Dead Cowboy Recent Sculpture

Schroeder Romero is pleased to announce an exhibition of recent sculpture by Marsha Pels. This is her third solo show with the gallery.

Dead Mother, Dead Cowboy is an exposé on desire and loss. Within this confrontational installation Pels combines the personal with the socio-political. She has juxtaposed the death of her mother against the abandonment by her partner. By transforming the gender-driven stereotypes of female/mother vs. male/lover from her own intimate specific knowledge into a more universal realm, Pels creates iconic symbols of sexual power and ironic display. By drawing psychological parallels between the two figures while still manifesting their essential qualities, a Freudian tension builds. A surreal, but historical, awareness of funerary monuments, whether it is Etruscan statuary or biker reliquary, permeates the gallery space. Pels is also making discreet associations to the public funerals of Saddam Hussein and James Brown, both of which occurred during the making of this body of work.

In the Main Gallery, a fluorescent-lit, cast crystal clear, life-size effigy of Pels’ mother cast with her mother’s personal items floats beneath a cascade of mink stoles. Driving into this figure on a deconstructed motorcycle from the opposite side of the space, her ex-lover emerges lit by halogen and blue neon lights. He is cast in silver crystal clear and black rubber from found and fabricated objects. The immutability of death, as well as a sense of arrested life are both present through the glow of two argon-mercury contextual signs hanging high on the walls. With accompanying artists’ books and prints, we are further immersed into the personal narrative of this installation.

In the Small Gallery, Pels has created Écorché; a coda to the Dead Mother part of the installation in the main gallery. She has cast her own hands in pairs of her deceased mother’s gloves and splayed them like the spine of an animal into the hide of her mother’s mink coat. The room also contains her mother’s classical piano music and bench and an original Kathe Kollwitz etching.

Similar to her 1995 installation TERRANOVA at The Sculpture Center in New York, NY and her earlier 2001 exhibition at Schroeder Romero in Brooklyn, The Hitler Vitrines, this show is woven together formally by her attention to the tactile quality of light and her ability to transform ordinary objects with metaphysical presence. Dead Mother, Dead Cowboy is a testimony to Pels’ sculptural ability to bear witness to the necessity of mourning with wit, honesty and style.

In addition to exhibiting widely in the United States and Europe Pels has received a Prix de Rome in Sculpture, a New York City Public Art Fund Grant, a Pollack-Krasner Foundation Grant and was awarded a Fulbright Senior Scholar to Germany. Her work is included in the public collections of Grounds for Sculpture, Hamilton, NJ; The Olbricht Collection, Essen, Germany; United Jewish Appeal Corporate Headquarters, New York; and the National Museum of Gabarone, Botswana, Africa. She is an Associate Professor of Sculpture at The College For Creative Studies in Detroit, MI.

Schroeder Romero

Drexel Galeria

The art market is soaring, the market is going to crash, well for one
night only, we are going to do our best to bring it down to the ground.
From 17.00 – 20.00 tomorrow we are selling original Dearraindrop A4
(give and take) works for 1000.- DKK, cash only.
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The Approach

Dear Rain Drop
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The exhibition ANDY WARHOL: SPORTS, STARS, AND SOCIETY attracts many visitors every day in Beijing’s 798 Art District. This is the first major exhibition of unique works by Andy Warhol in China. The exhibition runs through September 21.
With a tribute to the Olympic games, the centre piece of the exhibition is the rare and seldom seen 1977 -1979 “The Athlete Series” comprising 10 of the most celebrated sports figures of the 1970’s such as Muhammad Ali, Pele, and Kareem Abdul-Jabbar.
Also included in the exhibition are a series of male and female portraits, of known stars and unknown beauties, which exemplify the range of Warhol’s fascination with the media and their relation to social and society figures. 22 years after the death of the artist, his celebration of newsworthy figures seems more relevant and actual than ever before.

FAURSCHOU
 

For ABC, Peres Projects presents a video installation by Corsica-born artist Agathe Snow. “CHINATOWN: Every Square Has its Round” is a video works that chronicles Agathe’s drive through the various Chinatowns of the US, stopping to savor the “local” cuisine, buying fireworks and engaging in, basically, all things Chinatown ˆ an irreverant comment on national identity and the genre of picaresque fiction in true Agathe Snow fashion.

Agathe SNOW’s work varies from found object sculptures to dinner party performances. For the Whitney Biennial’s event program at the Park Avenue Armory, from March 9th to March 16th Snow staged Stamina 2008, a dance marathon in the ex-military headquarters. Snow invited the world to register online (Steadfast Associates maintained the website for the duration: Stamina2008.com), arrive to the Armor, punch time cards, and dance for free to music provided by over 30 DJs.

Snow’s work has also been featured in solo exhibitions at James Fuentes LLC (New York) and Jonathan Vyner/Fortescue Avenue (London). Select group exhibitions include the 2008 Whitney Biennial (New York, NY), and “Pretty Ugly” at Maccarone. The artists’s work will be featured in an upcoming solo exhibitoin at the Jeu de Paume in Paris, France.

Peres Projects