Blogs // 38 Blogs by GoSee ART

Kirill Chelushkin - Foreign Lands at Galerie Rabouan Moussion, Paris
Galerie Rabouan Moussion is pleased to announce the opening of Kirill Chelushkin's new exhibition "Foreign Lands" on Saturday 6th February at 4 pm.

Exhibition: 6th - 27th February 2016 Monday -Saturday / 10 am - 7:30 pm

Galerie Rabouan Moussion . 11 rue Pastourelle F75003 Paris . rabouanmoussion.com © // 4 files // show complete blog
IMAGE // GOSEE ART: 'Kirill Chelushkin - Foreign Lands' at Galerie Rabouan Moussion
IMAGE // GOSEE ART: 'Kirill Chelushkin - Foreign Lands' at Galerie Rabouan Moussion
IMAGE // GOSEE ART: 'Kirill Chelushkin - Foreign Lands' at Galerie Rabouan Moussion
IMAGE // GOSEE ART: 'Kirill Chelushkin - Foreign Lands' at Galerie Rabouan Moussion
Shapero Modern, London shows AMERICA IN REVOLT: THE ART OF PROTEST on GoSee
AMERICA IN REVOLT: THE ART OF PROTEST is an exhibition of original posters and artwork created by students and activists during the landmark ‘Berkeley demonstrations’ in California in the early 1970s. Drawn from the archive of the late publisher Felix Dennis, and curated by the revered writer and counterculture historian Barry Miles, the collection is comprised of more than 150 posters, each one capturing the incendiary spirit of that time.

While the demonstrations were initially sparked by the massacre of four unarmed student protesters at Kent State University by the Ohio National Guard on May 4th, 1970, they were also a response to the reinstatement of the military draft by President Nixon, and the escalation of the Vietnam War into Cambodia. AMERICA IN REVOLT: THE ART OF PROTEST is made up of 50 works from the Felix Dennis collection, which was recently acquired by Shapero Rare Books.

All of the posters demonstrate the swift organisation of the student body. Just days after the Kent State shooting, the Berkeley Political Poster Workshop, made up of art, design and political students, took over a small space donated by a sympathetic contingent of the faculty. Here they quickly disseminated their message through an ad-hoc production line. Posters were silkscreened onto recycled computer paper and psychedelic calendars; others went straight onto cardboard to be used immediately at demonstrations.

Only a few of each of these posters were made and most did not survive, such was their immediate necessity. They are supplemented by supporting material outlining the atmosphere of unrest in America including works illustrating solidarity with Vietnamese civilians, details of American weapons, and questions over President Nixon’s integrity.

Curator Barry Miles says: ‘These posters were not designed as art, but for a specific political purpose, and yet they inevitably fit into the history of graphic art, borrowing heavily from the Atelier Populaire posters of the student uprising in Paris of May 1968 and the counter-cultural posters of the period. They are a frozen snapshot of American graphic design at the end of the sixties, as well as a unique sociological record of a society in crisis.’

AMERICA IN REVOLT: THE ART OF PROTEST . Shapero Modern . February 3rd – February 27th, 2016 . 32 St George St, London W1S 2EA © // 1 file // show complete blog
IT’S FUNNY BECAUSE IT'S TRUE at Galerie Paris-Beijing, Paris
Much if not all of the contemporary art appears as absurd ... to his contemporaries. We generally associate the concept of Absurd to the action of laughing, yet in the field of esthetics this could wear different forms: diversion, humor or even nonsense. This notion firstly appeared in plastic arts in the 20th century. We certainly remember Marcel Duchamps and his “ready made” and all the other unconventional works that bothered many intellectuals at that time. Not to mention the DADA movement, who at Cabaret Voltaire cultivated its taste for the absurd with the aim of dethroning an art conceived as canonical. Last but not least, Marcel Broodthaers who throughout his career used the notion of Absurdity in his practice to criticize the Institution.

Even today, these works filled with humor could still appear as enigmatic: the artist undermines our judgment by concealing his intention behind an apparent banality. Aware of the power of ambiguity, the followers of these well-known predecessors learned how to establish a double-reading mechanism. The simplicity of form is an illusion, it hides the possibility of a more subtle interpretation. In a system where the uncertainty is generalized and relativism reigns , lying seems true (or a lie appears as the truth). A smiling viewer regain the role he thought he had lost.

It’s funny because it's true brings together 7 artists from different backgrounds. All bound by the need to express themselves with humor and poetry. Their works echo a reality where everything seems possible, the concepts of space and time are deprived of their meaning. The traditional codes are hijacked and taken to a sublimation of the absurd and paradoxical.

"In a world which really is topsy-turvy, the true is a moment of the false" said Guy Debord in 1967 in The Society of Spectacle. Let’s forget our marks, and allow ourselves to get carried away in a world where truths are not absolute, where the force of gravity can be overcome, where trees do not grow up to the sky, where fish are swimming in a light bulb, where the clocks don’t give the time anymore but become memento mori...

IT’S FUNNY BECAUSE IT'S TRUE . Galerie Paris-Beijing . from 28th January to February 27th . Paris: 62, rue de Turbigo - 75003 Paris, France . M° Arts et Métiers . galerieparisbeijing.com © // 2 files // show complete blog