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Sometimes he laughs. Tacita Dean filmed him just last year and, over the course of 16 minutes, we see him smoke five cigarettes. This show, called "The last beautiful pleasure," marks PE's 25th anniversary and drips with nostalgia — for a time when too many of us still found chainsmoking romantic. Artnet news: Is Capitalism Doomed? Is Capitalism Doomed? If capitalism is slowly on the outs, as some economists and theorists say it is, should there be a museum to preserve its artifacts? The Museum of Capitalism MOC , an aspiring institution at the very earliest phase of development, opens its first exhibition this month in a disused warehouse in Oakland, California.

Its ambitious goal is to educate future generations about the economic system's "ideology, history, and legacy," per its mission statement, in the vein of history museums and so-called museums of conscience. The artist list, totaling a whopping 83, includes members from around the globe. In the logic of an exquisite corpse, the pavilion can be seen as a disembodied part of the future artist residency and workshop at The Land, a self-sustaining artistic community initiated by Rirkrit Tiravanija and Kamin Lertchaiprasert near Chiang Mai in Thailand that engages with the idea of an artistic utopia and presents both an ecological and sustainable model for future artistic practice.

After its first manifestation at Art Basel in , the pavilion in Aarhus presents the first version of the building in its future dimensions of 22x22 meters.

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The structure houses several kitchen and garden elements within which the various themes of the project will be played out. Diana Thater, As Radical as Reality, , Plexiglas, steel, two-channel video projection color, silent, indefinite duration. Installation view.

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Photo: Fredrik Nilsen. This statement makes sense, given the complexity of Thater's subject matter: the networked entanglements between human and other, species and habitat, viewer and viewing space, zebra and zeal the last a term of venery for a group of zebras. The show presents two cruciform structures.

Each is composed of four Plexiglas sheets arranged via metal scaffolding to form the prone Xs; their four sets of moving images alternately bleed into and jarringly abut each other, creating bifurcated viewing environments that choreograph the body into position, then divide and mend the gaze. Viewed from afar, the screens appear as moving images in the round; up close, these immersive viewing stations facilitate what Thater describes as an "in-between space and time that we humans and animals can occupy together, whose mode is instinct and whose affect is beyond simple emotion.

Thater has been working with architectural screening environments since 's six-channel video projection China, a Deleuzian body trip into the multiple subjectivity of the pack wolf that muses on what it might be like to feel like many instead of one. Travel and zoological research have formed key parts of her practice ever since; both works in the current exhibition emerged from trips to Kenya in and The piece that gives the exhibition its title draws from footage of a herd of African elephants that the artist filmed in the country's Chyulu Hills. Images of elephants dominate the screens, singly and in groups, viewed from up close and far away.

These intersect with scenes of the threatened landscape that the magnificent creatures inhabit: rolling grasslands and distant mountains, gorgeous trees isolated in motion against azure skies. Thater has said of her work that it "must have a presence like a subject. But it's also something of a nightmare. Few animals are as emblematic of species loss as the northern white rhinoceros named Sudan, the subject of the adjacent work As Radical as Reality, , a moving meditation on extinction in the Anthropocene.

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Per the show's press release, the last surviving male of his species has shown little interest in mating with the last two remaining females that accompany him in the Kenyan conservancy that shelters them an assertion that is challenged by the conservancy, which provides the sobering counter that Sudan's two female companions are themselves incapable of normal copulation. Soon his advancing age will preclude reproduction regardless.

To make matters worse, poachers would love to have his horn. Species loss and individual death are inseparable in this pathetic story; so are human and rhinoceros.

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Thater's installation creates a space to encounter Sudan as he lives, a rhino in a post-rhino world, ringed by the armed guards who will accompany him everywhere until someday—too soon—security team becomes funeral escort. And we stand and mourn. In "The Last Beautiful Pleasure" two films play in the darkened gallery space. What is striking in these filmed portraits is that both subjects are smoking and this activity — conscious and unconscious — is about so much more.

Their smoking functions as a metaphor for duration and pleasure. De Boer's short film "Sylvia, March 1 and March 2, , Hollywood Hills" portrays the French actress best known for her role as Emmanuelle outside, surrounded by nature yet tightly framed. As she gazes silently at the camera, smoke from her cigarette billows around her. Dean's "Portraits" depict David Hockney in his studio. He is shot both close up and from a distance as he inhales, exhales and casually flicks ashes onto to the floor without a care in the world.

Although smoking is now looked down upon as a known health hazard, in film it is has long been accepted as a trope and an affect.

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In these films, Dean and de Boer investigate the visual power and pleasure of this activity. Sitting around the white Ikea-like desk in their studio, on the ground floor of a low-key office building in the gentrified northern part of Copenhagen, the core members of the Danish art group Superflex seem far less confrontational than you might expect. This year sees their most high-profile commission to date, with the recent announcement that they are the latest artists invited to fill the vast Turbine Hall of London's Tate Modern.

Yet, despite the glamorous-sounding projects and their globe-trotting lifestyle, the three men, all in their 40s, appear surprisingly grounded, dressed in casual clothes, with a beard here, some gray hair there and plenty of lines around the eyes.

Talking about their provocative work—which has included such pieces as an exact replica of the toilets used by the U. Security Council in New York, erected on a beach in the Netherlands in , and a video installation, made in , that attempted to hypnotize viewers so that they might perceive climate change from the perspective of a cockroach—they are serious, patient and have a clear sense of their approach. Intent on challenging globalization and power structures, they call their works "tools," suggesting a broader application beyond art. Though their mission is pugnacious, playfulness is central to the Superflex worldview.

It's very effective. It's also challenging. It's not just fun," says Nielsen. The collective's work questions economic systems and the commodification of art, but the artists also highlight the comedy innate in everyday life. They call s Danish children's television a main source of inspiration, and their works are more likely to be experiences rather than objects.

Let's say it's important to smash things before you can move on. Clayton Press and Gregory Linn are well known as early identifiers of emerging talents, many of which have developed into artists who are well recognized in the contemporary canon — from Richard Prince to Diana Thater, from Jutta Koether to Borna Sammak. Our approach is to develop portraits of artists' careers, collecting several works — 5, 10, 15 — over time.

For us, we are most interested in making a commitment to artists who are doing something fresh and evolutionary. We own paintings, time-based media, photography, sculpture, installation, and even several URLs domain name and web application. Here is an example by Damon Zucconi, www. By supporting these artists longer term, we feel — rightly or not — that we are encouraging them to push forward and through. View Article.

The key work in his new show at the Kerlin is his recreation, or re-imagination, of a lost painting of Mariakerk by Saenredam. Winstanley set about approximating it by referring to a surviving, precise preparatory sketch. Then he moved on to make another painting of Mariakerk, but from a slightly altered viewpoint, so that we can see a window and a golden tapestry, both of which, he points out, were documented as being there. But in composing his painting, Saenredam made sure neither would be seen, though he did include comparable elements in other paintings.

The bottom line is that Winstanley's re-imagination of the Saenredam is of course a Winstanley. And perhaps our version of anything is uniquely our own. Other paintings include people looking at paintings in the National Gallery, London.

A man and a woman stand before a Vermeer. A larger group moves around in front of a religious icon painting. The moving figures are blurred as though by a long photographic exposure. The figures are ephemeral, the artworks fixed and bathed in light. There's also a painting of a recurrent subject: a birch tree, which of course changes all the time even in its constancy. Seeing is believing, but the implication of these beautifully poised works is that our faith may be misplaced.

It's inspired by the idea of place-making, about making the work space "a personal space rather than a more generic public space," according to Ledgerwood. Domus: Pae White, Qwalala. Qwalala, a monumental new sculpture by American artist Pae White, opened to the public on the Island of San Giorgio Maggiore in Venice, coinciding with the Qwalala consists of a curving wall made only of solid glass-bricks.

Each of these hand-cast bricks is unique, owing much to chance and variation inherent in the artisanal manufacturing process. Approximately half of the bricks are made of clear glass. The other half span a palette of 26 colours, and are made using a technique where each brick contains a storm-like effect of swirling colour, while remaining transparent. For this project, the individual bricks present the idea of modules of contained chaos.

The artist combines these bricks to form an abstract, painterly pattern when viewed from afar, which, upon closer inspection, reveals unexpected worlds of detail. The muted blues, greens, pinks, greys and browns of the palette are drawn from colours used in first century Roman glassmaking created by the presence of sulphur, copper, manganese, and other metals and minerals. The title of the piece, Qwalala, is a Native American Pomo word meaning "coming down water place. The wall's ever-shifting play of light, recalls the way in which the colour and temperature of the river water changes minute to minute as it meets the Pacific Ocean.

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Additionally, the name "Qwalala" itself, rolling off the tongue, also mimics the visceral experience of the body as it journeys around and through the curves of the wall. The Herb Alpert Foundation announced the winners of its annual Award in the Arts, which are given out annually by the foundation and the California Institute of the Arts.

Kerry Tribe, for her fearlessness in rethinking and readdressing social issues, her ability to make surprising and moving connections, for her demanding, pleasurable, transformative, and accessible work. They value her empathetic, generous and rare ability to immerse her audiences in new ways of seeing the world. Opening this week in Venice. At 75 metres long and 2. Each of these hand-cast bricks is unique, owing much to the chance and variation inherent in the artisanal manufacturing process.

The exhibition will explore how different manifestations of intuition have shaped art across geographies, cultures and generations. It will bring together historic, modern and contemporary works related to the concepts of dreams, telepathy, paranormal fantasy, meditation, creative power, hypnosis and inspiration. Pae White: "Demimondaine" at kaufmann repetto.

The exhibition title lends itself to the French "demi-monde" or "half-world", a popular phrase at the turn of the early twentieth century characterizing those living opulent, pleasure-driven lifestyles.