Emerging NYC-based artist Lala Abaddon’s journey through the art world started with analog photography and poetry. The idea of creating works that carry more than one story always fascinated her, and Abaddon felt like she found the answer when she wove her first piece. Interested in the process of deconstruction and reconstruction, she decided to cut up multiple existing photographs and weave them into new images.
Calling it highly anticipated would be an understatement: even the Museum of Contemporary Art Chicago’s website has a timer counting down the seconds until the US debut of David Bowie’s first museum retrospective, “David Bowie Is,” on September 23. The genre-defying artist has not only left a major mark on pop music, but the worlds of fashion, art, theater and design as well. The gigantic exhibition will pay homage to Bowie with immersive, multi-sensory installations, objects from Bowie’s life, his notebooks (where many lyrics were scrawled), photography, as well as elaborate costumes from his most prominent tours. Organized by the Victoria and Albert Museum in London, the exhibition will offer a glimpse of five decades of David Bowie as a cultural phenomenon.
On Saturday, Thinkspace Gallery celebrated the opening of “After”, a collaborative exhibition by Mary Iverson and Stephanie Buer. As a singular statement, their new work explores a certain “afterlife” of desolate urban and rural landscapes. Where Stephanie Buer (previously covered here) suggests the passing of time through colorful graffiti on crumbling walls, Mary Iverson interjects peaceful mountainscapes with exciting abstract shapes.
Both based in Berlin by way of Australia, Two One and Reka (see our recent studio visit here) are exhibiting together at StolenSpace Gallery in London in two concurrent solo shows: Reka’s “Trip the Light” and Two One’s “The Hunted Hunter’s Head.” Inspired by the graceful movements of dancers from a young age, Reka (whose mother was a ballerina) presents a series of paintings that pay homage to the fluid, abstract shapes the body can make. His Cubist-inspired paintings might have one imagining a toe-tapping soundtrack of jazz or even the swell of a symphony, but Reka tempers these allusions to older, more traditional art forms with gritty paint textures that evoke his graffiti roots.
You might get a jolt of déjà vu looking at Brazilian artist Lucio Carvalho’s photographic work. Significant images in his portfolio feature monuments of culture – a towering Tate, a sinewy Bilbao Guggenheim, a sun-reflected Louvre – contemporary institutions that have proved integral to the architecture of a city’s art scene. However, in each of these images, something is a little off – the usual foreground and background are hijacked with paraphernalia (shopping bags, STOP signs, yellow plastic chairs) that reveal no explicit tie to the museum or gallery. The images are both familiar and unfamiliar, not so much a trick of the eye as a trick of our cultural systems.
Mark Gmehling’s 3D-rendered creations are instantly recognizable for their playful textures: rubbery legs that weave and stretch; gummy bodies that bounce off the floor; goo that drips and metal that glimmers. The artist (see our extensive interview in our current issue, Hi-Fructose Vol. 32) began as an analog illustrator and even cites graffiti as an early influence. These days, his digital illustrations lay the groundwork for prints, murals and sculptures. Gmehling has an exhibition titled “Plastic” opening tonight at RWE in his hometown of Dortmund, Germany filled with satirical, off-kilter pieces.