SPECIAL FEATURE: Selection of works at Paris Internationale

Bodega_Jason Benson 2
Featured Artists: Jennie Hagevik Bringaker, Erlend Hogstad, Mirak Jamal, Piotr Makowski, Zoe Williams, Hayley A. Silverman, Jason Benson, Sam Lipp, Patrick Berran, Sam Anderson, Martín Soto Climent, Gina Beavers, Jason Matthew Lee, Renaud Jerez, Benoît Maire, Anne Imhof, Florian Germann, Julie Béna, Kate Newby, Ryan McLaughlin, Chantal Peñalosa, Nevine Mahmoud, Patrick Armstrong, Ry Rocklen, Adrien Missika, Stefano Calligaro, Radu Comșa, Halvor Ronning, Ieva Kraule, Jesse Stecklow, Julie Beaufils, Liz Craft, Luca Francesconi, Mathis Collins, Piotr Lakomy, Wojciech Bąkowski, Bettina Samson, Natalie Häusler, Kris Lemsalu, Clémence Seilles, David Raffini, Jennifer Boysen, David Malek, Mathis Altmann

Venue: Paris Internationale, Paris, France

Exhibitors 2015: 1857, Oslo, Antoine Levi, Paris, Bianca D’Alessandro, Copenhagen, Bodega, New York, Carlos/Ishikawa, London, Chapter, New York, Christian Andersen, Copenhagen, Clifton Benevento, New York, Crèvecoeur, Paris, Croy Nielsen, Berlin, Deborah Schamoni, Munich, Emanuel Layr, Vienna, Emmanuel Hervé, Paris, Freymond-Guth Fine Arts, Zurich, Gregor Staiger, Zurich, High Art, Paris, Joseph Tang, Paris, Koppe Astner, Glasgow, LambdaLambdaLambda, Pristina, Laurel Gitlen, New York, La Salle de bains, Lyon, Lulu, Mexico City, Michael Thibault, Los Angeles, Paradise Garage, Los Angeles, Praz-Delavallade, Paris, Proyectos Monclova, Mexico City, Room East, New York, Sabot, Cluj, Samy Abraham, Paris, Sandy Brown, Berlin, Shanaynay, Paris, Stereo, Warsaw, Sultana, Paris, Supplement, London, Supportico Lopez, Berlin, Temnikova & Kasela, Tallinn, Torri, Paris, Treize, Paris, Triple V, Paris, Truth & Consequences, Geneva, Union Pacific, London

Date: October 20–24, 2015

Photography: images courtesy of the artists, galleries, Paris Internationale and Art Viewer

Bodega_Hayley A. Silverman 2
Truth and Consequences_Mathis Altmann

SPECIAL FEATURE: Selection of shows at 1857

22-Sunbathers II_1857
1857 is an artist-run exhibition space occupying a former lumberyard in Grønland, downtown Oslo. It was founded in 2010 by artists Steffen Håndlykken and Stian Eide Kluge, with graphic designers Eriksen / Brown as essential collaborators.

The space consists of a 280 m2 concrete factory hall, with raw concrete walls and 11 metres to a ceiling with beautiful skylights, which has been joined to an older wooden house with a storefront facing the street.

1857 aims to introduce young international artists to a Norwegian audience, and takes advantage of the high degree of freedom that comes from being an artist-run space in terms of how exhibitions are conceptualised, formulated and presented. There is an on-going conversation that runs through all of the shows about how to challenge or disregard conventions that prevail in institutional exhibition making. This approach has lead 1857 to open-ended collaborations with artists as well as characteristic exhibition designs, press releases and cocktails served on the openings.

03 Allison Katz_Tussie-mussie_1857

SPECIAL FEATURE: De Appel Curatorial Programme

The final project of the Curatorial Programme 2014 – 2015 at de Appel arts centre opened with two exhibitions: Spell to Spelling ** Spelling to Spell and Your Time Is Not My Time.

Spell to Spelling ** Spelling to Spell emerges in the spaces between the linguistic and associative relations of the notions of the spell and the spelling. The exhibition investigates various facets and rituals dealing with voluntary, involuntary and removed memory of the author, the visitors and the artworks themselves. Many ways of unfolding references, sources, stories and histories behind the objects are explored within the exhibition.

Your Time Is Not My Time lays the question of blurred boundaries between viewer, author and user within the current habitual fear of missing out and hyper-circulation of images. The exhibition uncovers a thorough pace and tacit admission within the changing lexicon of the public sphere, data-driven economies and forms of usership.

Ola Lanko