November 30, 2018

Jennifer Packer @ Sikkema Jenkins & Co., New York - Quality of Life

Jennifer Packer: Quality of Life
Sikkema Jenkins & Co., New York
November 29, 2018 - January 19, 2019

Sikkema Jenkins & Co. presents Quality of Life, a solo exhibition of new paintings by JENNIFER PACKER. This is Packer’s second solo show at Sikkema Jenkins. 

Jennifer Packer’s painted figures and still lifes are exceptional for their expressive fields of color, worked tenderly by the artist’s hand. They are images made with the utmost care–for the subject, and for the artist herself.

Jennifer Packer’s subjects are often friends and family, loved ones who serve as an emotive force in her life. Her representations critique the positionality, autonomy and power of the marginalized subject. Her work intends to address the primacy of the gaze within painting as a locus for accountability and representation. In Jennifer Packer’s work, distinct features fade against the color of their environment, creating a protective distance between the direct gaze of the viewer and the subject’s interiority.

The floral still lifes echo the same fragility and tenderness of life expressed in her portraits. Situated within the historical tradition of still life painting, Jennifer Packer’s floral images are concerned chiefly with painting as a language for the transmission of information through touch; a delicate working of the painted medium in response to loss and trauma. Jennifer Packer’s flowers serve as an act of grief, commemoration, and healing.

Born in 1984 in Philadelphia, JENNIFER PACKER received her BFA from the Tyler University School of Art at Temple University in 2007, and her MFA from Yale University School of Art in 2012. She was the 2012-2013 Artist-in-Residence at the Studio Museum in Harlem, and a Visual Arts Fellow at the Fine Arts Work Center in Provincetown, MA, from 2014-2016. 

Jennifer Packer’s first solo museum show, Tenderheaded, was exhibited at The Renaissance Society, Chicago in September 2017 before traveling to the Rose Museum at Brandeis University in March 2018. The catalogue that accompanied the exhibition includes a conversation between Jennifer Packer and Kerry James Marshall, essays by Jessica Bell Brown and April Freely, a poem by Safiya Sinclair, and an introduction by curator Solveig Øvstebø.

530 West 22nd Street, New York, NY 10011

teamLab @ Pace Gallery, Palo Alto

teamLab: Continuous Life and Death at the Now of Eternity
Pace Gallery, Palo Alto
November 15, 2018 - January 13, 2019

teamLab, Continuous Life and Death at the Now of Eternity, 2017 
Digital work, 9 channels, endless 
© teamLab
Courtesy Pace Gallery

teamLab: Continuous Life and Death at the Now of Eternity, at Pace’s downtown Palo Alto gallery, features six monitor works in various scales. Each work embodies teamLab’s long-standing interest in the possibilities and meaning of what they call ‘Ultrasubjective Space,” the shallow spatial structure of traditional Japanese painting.  As in Japanese styles as varied as Ukiyo-e prints from the Edo period to contemporary Manga illustrations, figures and objects in teamLab’s compositions exist on a single plane of depth focusing on vertical and horizontal relationships to express dimensionality. It is different but equivalent to western one-point perspective as a system for representing space. Compared to classical western space, the viewer does not hold a dominant perspective over the subject matter but rather, is immersed within an integrated experience with it. Neither subordinate nor superior to western perspective, the implication of this alternative vantage point raises questions regarding how different cultures perceive the world. For instance, what does it mean when systems perceived as opposites are equally true and sustainable?

The exhibition includes a 2017 nine-monitor work of the same name that generates images of flowers and plants, evolving and changing in real time, and never repeating itself. New multi-monitor works include Waves of Light, 2018—a continuous loop of mesmerizing motion of white waves on a gold ground—and Reversible Rotation – Continuous, Black in White, 2018 in which calligraphic lines roam from screen to screen as three-dimensional forms on a two-dimensional surface. Another example of spatial calligraphy, Enso, 2017, is a continuous looped image of the Buddhist symbol of wholeness. Two additional single channel digital works featured in the exhibition include Chrysanthemum Tiger from Fleeting Flower Series, 2017—a brightly colored continuous loop of a tiger rendered with thousands of flowers forming and dissolving before the viewer—and Impermanent Life, 2017—an endlessly evolving, abstracted natural image, eliciting a meditation on the subtle quality of change.

teamLab (f. 2001, Tokyo, by Toshiyuki Inoko) is an interdisciplinary group whose collaborative practice seeks to navigate the confluence of art, technology, design, and the natural world. Rooted in the traditions of pre-modern Japanese art and on the forefront of interactive design, teamLab operates from a distinct concept of spatial perception, which they refer to as Ultrasubjective Space. Driven by their investigations of human behavior in the information era, teamLab proposes innovative models for societal development through immersive and participatory installations that employ computer graphics, sensing, sound, and light. Rather than using prerecorded animation, teamLab’s artworks are often rendered digitally in real time, and the actions of viewers cause continuous changes in their appearance and behavior.

Toshiyuki Inoko (b. 1977, Tokushima, Japan) was inspired to form teamLab in 2001 after graduating from the University of Tokyo, where he studied mechanical engineering and physics. Co-founded with his friends, teamLab was conceived as a space for collaborative learning and experimentation, following a common belief in the cogency of digital art and installation. Inoko had long considered the potential of a computer-generated space as a catalyst for change and regarded art as a vehicle to incite thought; within this framework, he committed himself to creating art with digital technology.

teamLab has been the subject of numerous monographic exhibitions, including Dance! Art Exhibition and Learn and Play! teamLab Future Park, at the National Museum of Emerging Science and Innovation, Tokyo (2014); and What a Loving and Beautiful World, Radcliffe Institute for Advanced Study, Harvard University, Cambridge (2015). Recent exhibitions dedicated to teamLab include Ever Blossoming, Art Gallery of South Australia, Adelaide (2016); Graffiti Nature, Walker Art Center, Minneapolis (2017); Homogenizing and Transforming World, National Gallery Singapore (2017); teamLab: Au-delà des limites, Grand halle de La Villette, Paris (2018); A Time When Art Is Everywhere, Cameron Art Museum, Wilmington, North Carolina (2018); and Massless, Amos Rex, Helsinki (2018). In 2018, teamLab partnered with leading urban landscape developer Mori Building Co., Ltd, to open MORI Building Digital Art Museum: teamLab Borderless in Tokyo—a digital only art museum encompassing over 60 artworks installed across all elements of the building.

229 Hamilton Avenue, Palo Alto, CA 94301

November 2, 2018

Tala Madani @ 303 Gallery, New York

Tala Madani, Corner Projections
303 Gallery, New York
November 1 - December 15, 2018

303 Gallery presents their first exhibition of new work by Tala Madani.

Tala Madani's work posits a world where primal desires are unrestrained by convenient norms. Her works are subsumed by light that points both outward and inward, at human instinct and upended social ritual. Paintings can be grotesque, violent, tender, obscene, and hilarious.

For this exhibition, Tala Madani presents new paintings and animation works. In two large corner paintings, men point handheld projectors at the wall, screens flashing in the distance. Behind the wall, short films combine live imagery with painted animations. In one of them, a group of men struggle to prevent themselves from being crushed by a giant pink penis that has fallen from the sky. In another, a man is trapped in a loop of stairs and escalators in a faceless atrium, eventually caught and dismembered by a crowd. This is one step removed, cinematic, there is an audience looking on; there's something natural in it all.

In a group of paintings, infants are portrayed innocently discovering their imagination. One child crawls toward a light source with his hand outstretched, projecting a mammoth shadow of himself. Another canvas shows a billboard of a child carving glowing lacunae into a body, multiplying the sun. These base instincts hold a puerile allure, where a lack of inhibition is infantile and callow, but also human and liberating. You find these humans crawling into glowing gas ovens to stick their heads inside, returning to a fetal posture of sincere and relatable ignorance. Exploring from beginning to end.

Born in Tehran in 1981, Tala Madani received her MFA from the Yale University School of Art in 2006. Recent solo exhibitions include: La Panacée, Montpellier, 2017; First Light, MIT Visual Arts Center, Cambridge, 2016; Centro Andaluz de Arte Contemporáneo, Seville, 2014; Nottingham Contemporary, 2014; Rip Image, Moderna Museet Malmö & Stockholm, 2013; The Jinn, Stedelijk Museum Bureau, Amsterdam, 2011. Tala Madani has also been included in: The 2017 Whitney Biennial, New York; Hope and Hazard: A Comedy of Eros (Curated by Eric Fischl), Hall Art Foundation, New York 2017; Los Angeles – A Fiction, Musée d’art Contemporain de Lyon, 2017; Zeitgeist, MAMCO, Geneva, 2017; Invisible Adversaries, The Hessel Museum of Art, Bard College, Annandale-on-Hudson, 2016; The Great Acceleration: Art in the Anthropocene, Taipei Biennial (curated by Nicholas Bourriaud), 2014; Made in L.A. 2014, Hammer Museum, Los Angeles; Where are we Now?, 5th Marrakech Biennale, Marrakech, 2014; Speech Matters, La Biennale di Venezia, 2011; Greater New York, P.S. 1, New York, 2010; Younger than Jesus, New Museum, New York, 2009. Tala Madani lives and works in Los Angeles.

555 West 21st Street, New York, NY 10011