Tag Archives: Dorothée Perret

KADER ATTIA — THE VALLEY OF DREAMS

The artistic language of Kader Attia takes its departure from the mixed cultures between France and Algeria that have accompanied him since his childhood. The painful history encompassed in the complex relationships of these countries, the colonizer and the colonized, has implemented a concept he envisions in the form of a trilogy around the themes of reappropriation, reparation, and repair. His work investigates historical, sociological, anthropological, and philosophical facets and phenomenon of traditional and modern societies. Through meticulous artistic analyses, Attia breaks away from binary dynamics and introduces dialogs turned toward notions of lineage and continuity while questioning senses of beauty.

THE VALLEY OF DREAMS—Attia’s debut solo show at Regen Projects in Los Angeles—is a continuum of his research and investigations. Taking the promised land of the American West as a point of reference, Attia draws lines and mise en abimes with Arabian landscapes such as the sea and the desert. If he uses the land as a metaphor, Attia also questions the ways western cultures deal with the idea of injury—a concept he necessarily associates with one of repair. Where traditional cultures celebrate these marks with emphasis and artifacts, cultures of whiteness have been in complete denial in the face of it. However, Attia sees the trauma in these gestures of brutal erasure and buried histories.

What Attia offers through his rigorous science is an aesthetical therapy, where imagination through meaning heals the wounds. As he puts it: “Repair is an oxymoron, because ‘injury’ is its raison d’être. One cannot think about repairing something that hasn’t been injured. The state of the injured thing (the failure) and the state of the repaired thing (the repair) are forever bound in a causal layout that runs in the ethical and aesthetic loop of repair. This is true for all metaphors of repair: natural, cultural, political, immaterial, and so on…”

See link below for exhibition information.

KADER ATTIA—THE VALLEY OF DREAMS

Through December 23, by appointment.

Regen Projects

6750 Santa Monica Boulevard, Los Angeles.

Kader Attia, The Valley of Dreams, Regen Projects, Los Angeles, November 12, 2020–December 23, 2020, from top: Rochers Carrés, 2020, lightbox; Untitled, 2020, collage, ink, photograph, photocopy, print on paper; Untitled, 2020, Kraft paper with blue pigment framed in plexiglass box; installation view; Untitled, 2020, ceramic, terracotta, epoxy resin and steel plinth; Untitled (Skyline), 2007, refrigerators, mirror fragments; The Dead Sea (detail), 2015, floor installation made of secondhand blue clothes; Mirror Mask, 2020, wooden mask, mirror fragments, black pigment; Untitled, 2020, henna and thread on canvas. Images © Kader Attia, photographed by Evan Bedford, courtesy of the artist and Regen Projects.

KIM GORDON — SHE BITES HER TENDER MIND

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Inhabiting the four rooms of the IMMA’s Courtyard Galleries, Kim Gordon’s exhibition SHE BITES HER TENDER MIND presents new and unseen work—including paintings, drawings, sculptures from the Noise Painting, From the Boyfriend, and Airbnb series—and an immersive video projection.

KIM GORDON—SHE BITES HER TENDER MIND

Through November 10.

Irish Museum of Modern Art

Royal Hospital Kilmainham, Dublin.

See “No Retirement Plan: Kim Gordon and Carrie Brownstein in Conversation with Dorothée Perret.” PARIS LA 15 (2017).

Kim Gordon, from top: Proposal For a Dance, 2008–2010, DVD still, 12 minutes; Dead Machines, 2018, acrylic on canvas; Lay Down Thy Limbs 2, 2019, acrylic and medium on canvas; Black Glitter Circle, 2008, glitter; Mood, 2018, acrylic on canvas; Untitled (from the boyfriend series), 2015, acrylic, medium, and interference powder on denim skirt; Proposal For a Dance, 2008–2010, still. Images courtesy and © the artist and 303 Gallery, New York.

OSCAR TUAZON — COLLABORATOR

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Oscar Tuazon‘s sculptural works made in collaboration with artists and writers Ariana Reines, Matias Faldbakken, Elias Hansen, and Vito Acconci are now on view at the Bellevue Arts Museum—Tuazon’s first solo museum show in his native Washington State.

The exhibition—COLLABORATOR—also includes work in honor of Leonard Peltier, and “new sculptures and site-responsive interventions that respond, in part, to the porous, light-filled nature of architect Steven Holl‘s design” for the museum’s third floor galleries.*

OSCAR TUAZON—COLLABORATOR*

Through September 15.

Bellevue Arts Museum

510 Bellevue Way NE, Bellevue.

See PARIS LA 13—”CHEZ CHEZ PERV PERV” (Spring 2015), an issue guest-edited by Gardar Eide Einarsson, Matias Faldbakken, and Oscar Tuazon.

Oscar Tuazon—Collaborator, 2019, installation views, Bellevue Arts Museum. Photographs by Dorothée Perret. Images courtesy and © the artists and the Bellevue Arts Museum.

SETSUKO KLOSSOWSKA DE ROLA

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“The [ceramics] collaboration with Astier de Villatte began five years ago, but my friendship with the owners, especially Benoit, goes back a long time… I work with their Tibetan artisans. I make samples first and then we work together to add the volume, especially on the large trees, which are about a metre tall. The artisans are always singing or chanting; I feel very serene when I’m with them.” — Setsuko Klossowska de Rola

INTO THE TREES—an exhibition of sculptures and paintings by Setsuko at Gagosian Paris—showcases the artist’s recent ceramics and bronzes.

SETSUKO—INTO THE TREES

Through June 1.

Gagosian Paris

4 rue de Ponthieu, 8th, Paris.

See Dorothée Perret, “Setsuko and the Magic Kimono,” portraits by Katerina Jebb, PARIS LA 16 (2018): 77–83.

From top: Setsuko, Retour, 2015–2016, terra cotta; Into the Trees installation view, Gagosian Paris, 2019; Setsuko, Chemin de vigne, 2016–2017, enameled terra cotta; Katerina Jebb, Setsuko Klossowska de Rola, 2018, image from PARIS LA 16; Setsuko, Souvenir d’une vie 2, 2015–2016. Artwork images © Setsuko Klossowska de Rola, artwork photographs by Zarko Vijatovic, courtesy of the artist and Gagosian.

L.A. ART BOOK FAIR

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DoPe Press is extremely happy to see the return of the Printed Matter–LA Art Book Fair to the Geffen Contemporary at MOCA. We will be in section H07 on the main level.

Our newest publications—the journal PARIS LA 16: “The Fashion and Writing Issue” and the artist’s book …my life in the sunshine—Liz Craft 2006–2017—will be available, as well as our back catalogue and a selection of out-of-print titles.

For art and fashion lovers: In 2013 the artist Max Hooper Schneider created a silk scarf edition with P.P.M. Studio, Milan. We are offering the edition for purchase, as well as his last available original artwork from this series—dense, hand-drawn graphic lines recalling imaginative worlds and biologies—which will be part of a forthcoming book published by DoPe Press in September 2019.

In addition, we have invited some friends and family from Paris to share their publications and journals: Paraguay Press, MAY, and Profane.

PRINTED MATTER—L.A. ART BOOK FAIR 2019

Opening night, April 11, from 6 pm to 9 pm.

Friday, April 12, from 1 pm to 7 pm.

Saturday, April 13, from 11 am to 7 pm.

Sunday, April 14, from 11 am to 6 pm.

Geffen Contemporary at MOCA

152 North Central Avenue, downtown Los Angeles.

From top: Cassi Namoda, Love and compromise between a clock and hyena, 2018, from “Selected Paintings,” PARIS LA 16; Liz Craft, …my life in the sunshine–Liz Craft 2006-2017 page layout; image from PARIS LA 16, drawing of Lotta Volkova by Cédric Rivrain, 2018; image from PARIS LA 14, photograph of Elizabeth Schmitt Jennerjahn and Robert Rauschenberg at Black Mountain College by Hazel Larsen Archer; image from Alex Hubbard, Eat Your Friends (DoPe Press, 2015); Max Hooper Schneider, silk scarf edition for P.P.M. Studio, 2013, photograph by Nuage Lepage, 2019; image from PARIS LA 14, Juliana Huxtable, Sympathy for the Martyr, 2015; image from Oscar Tuazon, Live (DoPe Press and Buchhandlung Walther König, 2014); cover image, Pentti Monkkonen, Box Truck Paintings (DoPe Press, 2014); PARIS LA 16 inside covers, Michèle Lamy, photograph by Katerina Jebb, 2018.