- Oh, shit. Go inside an exhibition about toilets with a turd on your head. [ARTWEEKLY]
- Palestinian artist Khaled Jarrar, who is participating in the Here and Elsewhere show at the New Museum and a solo show at Whitebox Art Center, was denied exit by the Israeli government. [Hyperallergic]
- Forge your way to success: John Myatt, a 69-year-old painter who served 12 months in prison for making counterfeit paintings, now has a solo show in London of obviously forged paintings. The price for a painting mimicking Monet? $66,000. [Artnet]
- “It’s time to acknowledge and learn from the genius of Germany.” The Guardian’s Jonathan Jones may as well throw his U.K. citizenship out the window; he believes that Germans aren’t just better than the rest of the world at soccer, but art, too. At least he didn’t pledge his allegiance to the Übermensch. [The Guardian]
- The Guggenheim is on a worldwide building rampage, and it’s agitating the host countries. After reports that Abu Dhabi is being built by slaves, polls have shown that a majority of Helsinki residents are opposed to shouldering all the costs of the $177 million museum in their city. [New York Times]
- 8-bit lovers, put this one on your calendar: the International Teletext Art Festival opens in Berlin on August 14. [Kill Screen]
- It’s not often that you see the word “ass” in Artforum. I assume it’s not in their style guide, but here we go with Nathaniel Lee’s review of Emily Mae Smith’s show at Junior Projects where Lee asks, “Are we all really so obtuse and ass-hungry?” [Artforum]
- The douchey Wall Street art speculator stereotype is real. Data shows that about a quarter of the world’s top art collectors are in the “investment” industry; thanks to Hyperallergic’s Claire Voon for the visual breakdown with pie charts. [Hyperallergic]
- “[I]t’s not always easy to get flush Wall Streeters to art openings, particularly in Bushwick.” That’s a shame, since Claudia Maté’s show at Transfer Gallery is made about them. [Opening Ceremony]
Yet more great imagery from Cloaque, the website that is a self proclaimed “digital landfill.” This GIF is a screengrab from the video project cloaque.mov, by Chris Timms, Carlos Saez + Dmntia, Rollin Leonard, Jasper Elings, Anthony Antonellis, Emilio Gomariz, and Claudia Mate. The movie is like a Mac OSX themed LSD trip, and the music, by Yoshi Sodeoka definitely augments this trippiness by a sizable factor.
If you haven’t already, we encourage you to get lost in the Cloaque universe. It’s often perverse, usually absurd, and always attention consuming.
Maria Lassnig, who passed away last May, seems to have been used to pain. In her retrospective at PS1, paintings portray “body awareness”, with fears, anguish, suffocation, and limbs dissolving existentially into space. In her famous portrait “You or Me?”, Lassnig holds a gun to her head while aiming another at the viewer, a gesture which reads as being your own worst enemy.
This is what makes her video “Kantate,” or “Cantata”, so special. Lassnig sings the song of her life’s ups and downs, which we’ve read about in the wall texts– bad luck with men, isolation, and self-deprecation. But for all of the loneliness that comes through in the painting, we finally get to see the love of her life: art.
Click through to watch the video on YouTube. Unfortunately this doesn’t come with subtitles, but scroll to the “about” section for the English translation.
Tom Hancocks has made an animated GIF dreamworld out of a windowless, hypermodern house in an alien landscape. This is definitely a throwback to early computer games like Myst with maybe a little bit of Freud mixed in there. The project is called “Idle Self” and invites viewers to browse through rooms of the house as if they were representations of the mind at work.
Idle Self was part of a larger project called ANI GIF, an online gallery curated by Daniel Rehn and Sarah Caluag. Their last project was published in November 2013.
According to the masters of ironic hyperbole at VICE, the magazine’s annual photography issue is an event of biblical proportions. More specifically, it’s “a cultural barometer that has been used by historians since the age of Talbot to determine which artists are on the front lines of photography in any given year.”