“What does it mean to ‘see?’ This is #KimGuiline’s starting point.” — Joon-Sang Yoo, @seoulmuseumofart • The artists’s first US exhibition continues at 536 W22nd Street through March 25.
“...they use cast-off elements to express the powerful transference that occurs when, say, African or Latin American makers integrate Western components into their objects. For Attia, mixed or patched objects like these symbolize resistance and ingenuity.” — @artnet • "Untitled" (detail), 2017, ancient Dogon wooden mask, Muslim prayer beads from Senegal, and metal base. #kaderattia #reasonsoxymorons (at Lehmann Maupin)
"Invited last summer to concve site-specific installations across the entire green space — the first time all five acres have been given over to a single artist in the park’s 30-year history — @nariward, a Jamaican-born, Harlem-based artist, has made a number of alterations to his proposed design post-election. He has created an altogether new piece titled “Scapegoat,” a 40-foot-long hobby horse with a giant goat’s head, a parody of virility and monuments to political leaders typically sited in public spaces." — @nytimes • #NariWard: "G.O.A.T., Again" will open at @socratespark on April 29. (at Socrates Sculpture Park)
The New York debut of #KaderAttia’s multimedia contribution to the Biennale de Lyon in 2015, “Reason’s Oxymorons” presents a “video library” of 18 interviews presented in office cubicles. The interviews feature ethnographers, psychiatrists, and theorists discussing topics such as “Genocide” and “Reason and Politics.” The resulting observations reflect on the West’s antiseptic touch in dealing with its current troika of humanitarian dilemmas: immigration, assimilation, and the refugee crisis. — @artnet • Opening tonight, 201 Chrystie Street, 6-8 PM #reasonsoxymorons (at Lehmann Maupin)
“…#RobertoCuoghi demonstrates total fluency in any situation, employing a range of techniques to weave a sprawling, nonhierarchical and atemporal web of drawing, painting, photography, performance, digital animation, comic-book illustration, archaeological research, and musical composition. Yet his total immersion in his subject matter is what really distinguishes Cuoghi’s oeuvre from this of his peers.” — @artforum • “Perla Pollina, 1996-2016” opens at @centredartcontemporaingeneve, February 22. • “Senza Titolo (Untitled)” (2014) (at Centre d'art contemporain)
#CatherineOpie is included in the group exhibition “Breaking News: Turning the Lens on Mass Media” at the @gettymuseum. Through photographs and videos, these artists have juxtaposed, mimicked, and appropriated media elements to transform ephemeral news into lasting works of art. • “Bush Smiling, Help Us, from the series Close to Home,” (2005) © Catherine Opie. #breakingnews (at Getty Museum)
“Like my first muse, my mother, all of my muses possess a profound sense of inner confidence and individuality. They are all in tune with their own audacity and beauty in such unique ways. They are unafraid to exude boldness and vulnerability at the same time, and most importantly, they are real. — @mickalenethomas • “the desire of the other” continues at #LehmannMaupin, Hong Kong, through January 7. “Qusuquzah Lounging with Pink + Black Flower,” (detail), 2016 #mickalenethomas #thedesireoftheother (at Pedder Building)