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Earlier this year, Ellsworth Kelly's final work opened to the public in Austin, Texas. A 2,715-square-foot pavilion contructes alongside the Blanton Museum of Art existing home on the campus of the University of Texas. The pavilion, titled Austin, is the first and only freestanding building designed by Kelly, who is renowned for his colourful and minimalist artworks. Based on a sketch he made of a chapel in France during a stay between 1948 and 1954, the idea for the work gradually became three-dimensional as he worked on it during his lifetime. Although modelled on a chapel, the structure is designed as a place for joy and contemplation, rather than with a specific religious programme. 📸 @artsyLast dispatch from Venice 😊👌🏽 Dancing with Myself deals with the importance of the artist's role as actor and material of his own creations, from the 1970s to today. 1. Latoya Ruby Frazier; 2. Urs Fischer; 3. Charles Ray; 4. Cindy Sherman; 5. Claude Cahun; 6. Urs Lüthi. ➡️ open until Dec 16, 2018Ian Cheng at the Espace Louis Vuitton Venezia is one not to be missed 🌟 The second chapter of Ian Chang's Emissaries trilogy, Emissary Forks At Perfection traces the evolution of ensembles of beings and the way they adapt to their ever-changing environment. The work features a "narrative agent" whose actions modify the course of the events in a post-human world controlled by an artificial intelligence (AI). Upon discovering the remains of a 21st century human being, the AI brings a representative of this species back to life to be studied by the Shiba Emissary, creature in the form of a dog, by extracting the memory of this temporarily reanimated "human matter". With this work, Cheng leads us to question the human mind's adaptive capacities and human evolution in the face of otherness, randomness and the unpredictability of a world that is continuously changing. ➡️Emissary Forks At Perfection is open until Nov, 25 at the Espace Louis Vuitton Venezia.We went to Venice for the Biennale and we could not miss German painter Albert Oehlen retrospective at Palazzo Grassi. ➡️Cows by the Water is on until January 6, 2019. Albert Oehlen's paintings all embody an attempt to get rid of the stories that one attaches instinctively and culturally to a motif, a color, a technique, a blow or a brushstroke. His paintings hammer like rock but ramble like jazz. Oehlen's work is empirical, not programmatic. It is gestural and gives itself up to the frenetic rhythm of the brush, whose strokes are unrestrained in their effects. The artist applies paint by brushing, spraying or smearing it on the canvas with his fingers. He also pastes scraps of torn images onto the canvas or injects ink jets onto them, where advertising words as well as prices are aligned: all this commercial backdrop ends up being treated, kneaded, recomposed, redispatched into a wash.Summertime 🍉🍋🍒 Stephanie Hier, If you've got shoes under your feet, you're not wearing them right, 2017. Via @downsrossThe biodegradable works by Andrea Barbagallo create an unexpected connection among art, nature and technology. These machine-made anthropomorphic and autonomous entities interact with the surrounding space, thus producing symbiotic connections with it. By focusing on materials and shapes, the works generate narrations about the world and the body, two main focal points in the artist's research. Barbagallo's latest show "Body Ache" focuses on the obsessive reproduction of the human body made through the use of technology. Barbagallo devises a biodegradable microcosm where the artworks are altered by processes such as decomposition, caused by temperature variation, air, mould, seeds, and contaminations. The sculptures become integral part of the world by a ritual process that is like an electroshock. The way the artist gives life to his works is inspired by Cargo Cult, a millenarian movement native of Melanesian islands that worships Western manufactured goods and commodities with the belief that it will lead to increased wealth in return. Hence, objects are fetishized and become a medium, a bridge in between the material and the spiritual world. The cloud storage system can be seen as a sacred space where in a similar but inverted process, the immateriality of SLT files transforms into the materiality of the final 3D-printed products.Through reincarnation into technological matter, the divine and the hyperuranion combine with technological practices, such as data archiving on the cloud system. The transformation into physical matter originates from the immaterial, an idea, the spiritual matrix that, unlike Christ's body, doesn't rise, but decays. BODY ACHE AT DIMORA ARTICA in Milan IS OPEN UNTIL JUNE, 13. Curated by Domitilla Argebtieri Federzoni. @barbagallo__andrea @dimoraartica @tillatormen- My Tweets
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