Milan for these moments… Villa Necchi Campiglio and Rituals Around the Machines by HPO, Bill Kouligas and Rashid Uri, in which “machines leverage all recycled content on hand by swallowing/shredding/digesting Nike's DiSAssembly Park installation - giving it both a renewed physical and metaphysical purpose. In the spirit of SPA's core principles (Improve, Scavenge, Protect, Adapt) its demise is re-processed into a dedicated ‘disassembly’ inspired soundscape by Bill Kouligas.”
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Villa Necchi Campiglio was completed by the architect Piero Portaluppi in 1935, following a commission by the Necchi Campiglio family, part of Milan’s industrial bourgeoisie of the 1930s. Legend has it that the building was conceived in a vision: lost in fog after a show at suburban La Scala, Necchi, decided to have a villa built in the city to look like a country home. Portaluppi’s faith in new technology ensured it incorporated industrial materials, electricity and a heated swimming pool.
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#villanecchicampiglio#dropcity#billkouligas#hpo#rashiduri#mabeofurniture#pieroportaluppi
NYC redux... 1. Inflatable rat calling public attention to a site employing nonunion labor / 2. Marc Kokopeli, Die Pampertaarten, at Reena Spaulings / 3. Richard Prince, Hoods, at Gagosian / 4. Anita Steckel, My Town, at Ortuzar Projects / 5. Terry Adkins, at Paul Cooper Gallery / 6. Lawrence Weiner: Apropos Lawrence Weiner, at Marian Goodman / 7. Jean-Michel Basquiat, Art and Objecthood, at Nahmad Contemporary / 8. Nancy Grossman, My Body, at Michael Rosenfeld Gallery / 9. Lee Lozano, ALL VERBS, at Hauser & Wirth / 10. Cady Noland at MoMA
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#marckokopeli#nancygrossman#lawrenceweiner#cadynoland#richardprince#terryadkins#anitasteckel#maryboone#jeanmichelbasquiat
Dozie Kanu, On Elbows, 2022 (detail) at Pier 3, Brooklyn Bridge Park & David Hammons, Day’s End (2014–21) at Hudson River Park, on the site of Gordon Matta Clark’s 1975 work of the same name, in which he cut five openings into the Pier 52 shed that formerly occupied the site. Day’s End’s open structure precisely follows the outlines, dimensions, and location of the original shed.
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#doziekanu#davidhammons#gordonmattaclark
“Working with objects instead of representations of them, I began to think of the instances in which people are treated as objects. Since the psychopath objectivises people and psychopaths tend to act out the undercurrent of a culture's latent principles, I became interested by extension in the psychopathic imperative of the American opportunist. As an exercise, in some of my pieces I have made an exaggerated occasion of opportunity as an end in itself. This is an attempt to realise psychopathic behaviour and to share my understanding of it with other people.“ — Cady Noland
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An extract from ‘Psychopathology’, read last night by Helen Martin during her conversation with Susanne Pfeffer and Diedrich Diederichsen on Cady Noland’s practice, specifically the 2018 survey exhibition at MMK, which Pfeffer curated with Noland’s participation.
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Images: Cady Noland, Installation views, July 7 - August 25, 1990, Luhring Augustine Hetzler, Santa Monica (cropped)
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#cadynoland#helenmartin#susannepfeffer#diedrichdiederichsen
“TIME PASSES TIME does not pass. Time all but passes. Time usually passes. Time passing and gazing. Time has no gaze. Time as perseverance. Time as hunger. Time in a natural way . . . Time got the jump on me yes it did.” — Anne Carson, Red Doc> Thank you for all your kind messages today, here’s my twelve months later face… x