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Koenig & Clinton

@koenig_clinton

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Contemporary art gallery (2013-2020)

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Thank you. by @koenig_clinton

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On Sunday, February 2 from 3–4:30 PM, join the @queensmuseum for a special conversation between #AmericanArtist (@ivorytower_headass), whose exhibition 'My Blue Window' is on view through February 16, and Rashida Richardson, Director of Policy Research at the AI Now Institute. Their dialogue will focus on issues of police surveillance and include time to view the exhibition before and after the talk. taken in Queens Museum by @koenig_clinton

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Happy Belated Birthday to the lovely Ms. Nicole Miller (@nnicool). Whether she is working with sculpture, lasers, or video-based films, we are always moved to see how she renders the conditions of invisibility, while also building a narrative space for those who have been silenced so that they might be heard. Thank you for all that you give, and share, and make... for so many. We love you and we salute you, Nicole. #NicoleMillerAritst #Capricorn #GivingVoice #Filmmaker #Artist #VideoArtist #Sculptor #LeadingLady #BeautyThatBeggareddescription by @koenig_clinton

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Opening February 8, @theluminaryarts presents 'America's Mythic Time,' an exhibition on mass incarceration and forms of opposition in collaboration with @archcitydefenders, featuring #AmericanArtist (@ivorytower_headass), #MariaGaspar (@maria__gaspar), #KahlilRobertIrving (@kahlilrobertirving), #JordanWeber (@jordan_j_weber), #WORKPLAY (@work_play) and ephemera from a range of St. Louis-based activists and organizers including @closetheworkhouse and the @bailproject, among others. Curated by James McAnally (@jamesxmcanally) with Katherine Simóne Reynolds, the exhibition will be on view Wednesday through Saturday each week through March 21. taken in St. Louis, Missouri by @koenig_clinton

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'More than six months after an exhibition organized as part of the Aichi Triennale in Japan was shuttered following political and violent threats, the @mocataipei announced that it would host the show in its studio space in the spring.

Following the opening of the exhibition “After ‘Freedom of Expression?,’” which focused on the history of censorship in Japan, in August, the Aichi Prefectural Museum of Art in Nagoya received numerous death threats by phone, email, and over fax over its inclusion of a “comfort woman” statue—a monument that commemorates Korean women who were forced into sexual slavery by Japanese troops during World War II—titled Statue of Peace.

While the organizers of the exhibition cited the safety of museum staff and visitors as the reason for the closure, the participating artists and others opposed to the decision condemned the move as censorship—the topic of comfort women remains a sensitive issue for Japan. Many expressed concern over the number of local lawmakers, including Nagoya Mayor Takashi Kawamura, who spoke out against the exhibition. The Cultural Affairs Agency, which previously pledged to provide 78 million yen in financial support to the triennial, later declared that it would not pay.

The controversy prompted more than a dozen artists, including #TaniaBruguera, #PiaCamil, #MinoukLim, #PedroReyes, and #JavierTéllez, to sign a letter addressed to the show’s organizers, which read: “We consider it an ethical obligation to stand by the exhibiting artists’ voices and their work being exhibited. Freedom of expression is an unalienable right that needs to be defended independently of any context."' .

The full News article is on artforum.com: www.artforum.com/news/aichi-triennale-exhibition-will-be-restaged-in-taiwan-following-censorship-controversy-81885 taken in 台北當代藝術館 MoCA Taipei by @koenig_clinton

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'Ways of Reading' is an exploratory day of talks, interventions, and performances co-presented by @kadistkadist and @e_flux, on Saturday, February 1 from 11am to 7pm at 311 East Broadway, New York.

The symposium examines how forms of information describe, prescribe, organize, and even misrepresent reality. This framework aims to emphasize how data and statistical analysis can function as powerful, yet often incomplete tools that can be wielded to produce exclusionary models for social distribution and recognition. While numerical mistakes are plain to see once revealed, false positives, cognitive biases, and other forms of erroneous thinking are not unique to computational logics alone. The presentations explore data as a theme in general, across various disciplines including public health, urban planning, archeology, geology, and others. Playfully investigative rather than thesis driven, the symposium proposes that understanding is made richer, if not possibly more truthful, by including a diversity of research practices and forms of critique that take alternative views and approaches into consideration. If we were to present a guiding thought for the day, it would be to remember that: a sparrow, to an ornithologist, is not the same thing as to a poet.

Participants include #AmericanArtist (@ivorytower_headass); Anti-Eviction Mapping Project; #JérômeBel; #JamesBridle; #KateCrawford (@__katecrawford__); Martha Kenney; #LauraKurgan (@kurganl); #TrevorPaglen (@trevorpaglen); #GalaPorrasKim (@itsgala); #KameelahJananRasheed (@kameelahr); #SteveRowell; #DavideChristelleSanvee; and #AndrosZinsBrowne. Curated by #AdamKleinman (@oystercrackersandwiches), KADIST’s Regional Curator for North America. taken in e-flux by @koenig_clinton

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#BrandonLattu is featured in Issue #70 of @moussemagazine, in the essay 'Fucked-Up Objects,' by Marie de Brugerolle. An excerpt is below: 'My reflection on fucked-up objects started two years ago, probably during a studio visit with Los Angeles– based artist Brandon Lattu. We discussed functionality and readymades, and when I asked him, “What are you working on?” he answered, “A big potato.” At the time he was focused on postmodernity, from the legacy of the “black square” to the impact of screen time on art production. So, hearing “big potato” surprised me. And indeed, he made it! Potato (2019). It took time to find the right material, carving different types of foams, seeking the right shapes to represent the potato’s curves. One sketch looked quite like a belly button. This fragment of skin reminded me of Akhenaten and Nefertiti’s inverted body canons. And indeed, the work deals with the distortion of canonical sources, the next step in art in the post-medium era.' by @koenig_clinton

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Save the date for what is sure to be an incredibly generative conversation between #MichelleLopez, #JackieWinsor, and #AnnaSewHoy (@exclamationoir): On January 29 from 6:30–8 PM at the @icaphiladelphia, the three inter-generational artists will convene to discuss the gendered politics of sculptural practice from the 1960s to the present, and how they intervene in the traditionally masculinist and male-dominated canon. As students of Winsor, Lopez and Sew Hoy will reflect on their relationship to learning, making, and teaching. Bringing together different perspectives and experiences with personal relationships and histories, the artists will discuss how they have each come to define their respective sculptural practices. by @koenig_clinton

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Angelenos, join #AmericanArtist (@ivorytower_headass) for their lecture @uclaarts this Friday, January 17 at 7 PM in the Margo Leavin Graduate Art Studios. We're proud of this native Californian's talk circuit (they were at @ucsdvisarts earlier this week!), where they have been able to share significant developments within their practice. And for those of you in NY, there is still time to see 'My Blue Window,' at the @queensmuseum, on view through February 16. Photo: Gioncarlo Valentine. taken in UCLA by @koenig_clinton

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'New York: The 1980s; Part II,' including #OlivierMosset, is on view at @le_consortium in Dijon through May 31. The exhibition also includes Aimee Morgana, Alan Uglow, David Diao, Jessica Stockholder, Mattew McCaslin, Michael Scott, Steven Parrino, and Steve Dibenedetto. "For the artists living in New York in the 1980s, their visual environment was saturated with all kinds of images, from record covers, magazine, cartoons and comics, billboards, to movies and television, with the first video clips and the beginnings of MTV. They were confronted with a Zeitgeist that proclaimed the end of Modernism in art and most specifically the end of painting and the impossibility to create new art forms. In the atmosphere of esthetic and political disenchantment of the Reagan years, with its celebration of Wall Street financial cynicism, these artists often influenced by French theory adopted a critical yet uninhibited attitude toward this profusion of consumerist images, unveiling the mechanisms of desire and seduction they elicited." Photo: Rebecca Fanuele © Consortium Museum taken in Le Consortium by @koenig_clinton

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On the @untitledartfair Podcast, 'Re-modeling the gallery,' organized by Kerry Doran (@babyrattlesnake), Margaret Liu Clinton speaks about the changes she's seen in the gallery landscape since the early 2000s, and how she's been able to continue cultivating critically-engaged practices. The episode illuminates the realities of working as a gallerist, a role that is too often invisible, even within the industry. We are very grateful to Kerry Doran and UNTITLED, Art, as well as the incredibly impressive women featured, for contributing to this urgently needed discourse about the current state of galleries: Margaret Carrigan (@reallifemaggie), Deputy Art Market Editor at @theartnewspaper.official; Alyssa Davis, Founder and Director of @alyssadavisgallery; Patton Hindle (@pattonhindle), Senior Director of Arts at @kickstarter; and Violeta Mansilla (@violetamansilla), Founder and Director of @uvestudios. Listen here: untitledartfairs.com/miami-beach/podcast. by @koenig_clinton

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For a glimpse into #AnokaFaruqee and #DavidDriscoll's studio practice and work as collaborators, watch the video linked in our bio from Gorky's Granddaughter, a documentary art project by Christopher Joy and Zachary Keeting. www.gorkysgranddaughter.com/2020/01/anoka-faruqee-and-david-driscoll-nov.html by @koenig_clinton

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