DaWire

Summer is almost over and so are the dreary summer group shows. Finally! Starting off the season, I can’t help but taking a look at Team Gallery‘s website (one of my faves) to check their program and kick-start the upcoming fall season. This month, gallery Director José Freire is presenting a film by Spanish artist Santiago Sierra. I saw the film last year at Art Basel and it’s quite the porno flick. Anyway, I’m excited Team is taking in Spanish artists (NYC galleries take note). I’m heading to NYC next week, so the show’s opening is definitely on my to do list.[...]

Pablo Guardiola searches and achieves in finding the poetic in everyday objects; a paper bag with a grease stain becomes a world map, and a simple globe toy a paradox that points to geographical uncertainties and an increasing globalized economy. The use of different mediums of representation, such as photography, installation, found objects and sculptures, is clearly just a vehicle to mediate the relationship between perception and visual representation, which in his work coincide but still remain at odds with each other.

Brazilian artist and writer Fabio Morais works with the deconstruction of language and the mapping of text and image to construct a visually engaging system of signs that relate to memory, language and identity. Frequently using writers, poets and critics as the basis of his works, Morais appropriates text, language and image and uses it as a place of negotiation between artist and spectator.

Hauser & Wirth continues its outdoor sculpture programme with Martin Creed’s ‘Work No. 700’ (2007), three progressively slimmer steel I-beams balanced on top of each other. The rusted steel I-beams are twelve metres long and neatly stacked, discarding their previous functionality to form a whole in keeping with Creed’s distinctive ‘artistic logic’.

Gardar Eide Einarsson’s work combines the rebellious streak of punk-rock antics with art historical references that recall Frank Stella, Kasimir Malevich and Roy Lichtenstein. His text-based works, including wall vinyls, silkscreens and lightboxes, offer an often politicized view of contemporary society and an authoritative claim on appropriation that brings attention to the idea of authorship that has concerned postmodernist thought since Foucault’s proclamation of “the death of the author.”[...]

At the Scope art fair in Basel this year, Admir Jahic and Comenius Roethlisberger presented their most recent work “The Flying Saucers or In God We Trust.” As always, the duo’s work is very conceptual and beautifully executed. Last year’s work at Scope Miami, “For Big Mistakes: Erased Princess Diana Drawings,” was a little gem.

As we scour the internet we continue to find artists from the 60′s and 70′s who have made an impact or have fallen into art history oblivion. Today at DaWire we feature work from Dutch conceptual artist and filmmaker Wim T. Schippers. In 1962, Schippers had an exhibition at the Fodor Museum in Amsterdam, where he covered the floor of a room with a 100 mm layer of salt and another with a couple of tons of broken glass.[...]

This week we continue our quest to post artists of the 60′s and 70′s that have made an impact on contemporary practice. Today we turn to Douglas Huebler, one of the founders of the conceptual art movement. Although we are used to seeing conceptual art in museums and art spaces today, it was only recently (around the 90′s) that this historical mode began to be institutionally defined and revered.[...]

Continuing our weekly run of artists from the 60’s or 70’s that have made an impact on contemporary practice, today we bring you French Fluxus artist Robert Filliou. The Fluxus movement didn’t believe that art had to express itself in the form of objects, but was rather a vehicle for vague and poetic ideas.[...]

Recognizing the importance that conceptual art of the 60′s and 70′s still has on artistic practice today, we will be posting a series of artists that in our opinion still influence in one way or another artists today. Jan Bas Ader is one of them.[...]