Sunday, April 30
Sydney-born, Paris-based artist Mel O’Callaghan’s installations, films, and performances are based on various rituals and traditional processes of self-transformation. Daily performances at the Palais de Tokyo have participants interacting with sacred objects—a burnt tree, a drum, a sistrum, a gong—in order to achieve an alternate state of consciousness.
Mel O’Callaghan Dangerous on-the-way
Assorted artifacts installed by Mexican artist Abraham Cruzvillegas convey urgent political and environmental messages. For instance, a traditional “butterfly” canoe from the Pátzcuro lake in western Mexico is suspended from the ceiling so that the distance between the boat and the floor matches the lake’s water shortage level (as measured over the past forty-nine years), which has resulted in the loss of endemic species and the decline of traditional activities and rituals practiced by the local community.
Ulla von Brandenburg’s latest exhibition includes a new 16-mm film, C,Ü, I, T, H, E, A, K, O, G, N, B, D, F, R, M, P, L, 2017, in which different fabrics reveal and conceal an idea of “truth” or reality. These textiles appear once more in a series of sculptural works, while the hide-and-seek theme is reprised in a site-specific installation made of bamboo and dyed fabrics.
Ulla von Brandenburg Two Times Seven
Baselitz’s recent paintings and works on paper are a continuation of his fragmented self-portrait series, “Avignon,” which was first shown at the Venice Biennale in 2015. Mixed in among portraits of himself and his wife, Elke, are several direct references to paintings by other artists. Among Baselitz’s pointed art-historical shout-outs: Marcel Duchamp’s Nude Descending a Staircase, 1912, and Otto Dix’s The Artist’s Parents, 1924.
Georg Baselitz Descente
Saban’s latest works combine elements of painting and sculpture. Using a loom, the LA-based artist has woven together strips of canvas to create richly textured three-dimensional surfaces that alternately evoke thick animal hides and fine topographical studies.
Analia Saban The Warp and Woof of Painting
The point of departure for Jutta Koether’s recent paintings is Jean-Siméon Chardin’s La Serinette, 1753, which depicts a young woman playing a bird organ. Inspired by this scene, Koether’s recent paintings are a continuation of her ongoing investigation of the independent materiality of paint. Here, she uses rich reds, pinks, and golds on heart-shaped canvases and, in a series of seven “black” paintings, turns to a limited palette in order to describe darkness and emptiness.
As one of the founding members of CoBrA, an avant-garde artist group formed in Paris in 1948 and named for the cities from which its members hailed (Copenhagen, Brussels, and Amsterdam), Dutch artist Karel Appel found academic interpretations of abstract art to be too rigid, which made him promote a naive-style visual language that combines figurative and expressive elements. This comprehensive overview of Appel’s work ranges from ceramic sculptures and gouaches from his “Psychopathological Notebook,” 1940–50, to large paintings and installations from the 1970s through the 1990s.
Karel Appel Art as Celebration!
On the occasion of the centennial anniversary of Rodin’s death, the Musée Rodin has given carte blanche to Anselm Kiefer—a contemporary artist whose inspirations and creative processes are not unlike those of his illustrious forbearer. Paintings and installations featuring Kiefer’s signature annihilated and debris-like materials are juxtaposed with little-known plasters by Rodin.