Pingapa ▌PLUS▼

Il mondo non è banale? ░ Il linguaggio conveniente del Sublime Prefetto

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¨ Sutta  (vedico: s ū tra; letteralmente: filo * ) del linguaggio conveniente del Sublime Prefetto ** Mia Nonna dello Zen così ha udito: una volta dimorava il Sublime Prefetto presso la Basilica di Sant’Antonio, nel codice catastale di Padua. E il Sublime così parlò: “Quattro caratteristiche, o mio bhikkh ū *** , dirigente dell’area del decreto di espulsione e dell’accoglienza e dirigente anche dell’area degli enti locali e delle cartelle esattoriali e dei fuochi d’artificio fatti come Buddho vuole ogni qualvolta che ad esempio si dica “cazzo di Buddha” o anche “alla madosca” o “gaudiosissimo pelo”, deve avere il linguaggio conveniente, non sconveniente, irreprensibile, incensurabile dagli intercettatori; quali quattro? Ecco, o mio dirigente che ha distrutto le macchie: un dirigente d’area parla proprio un linguaggio conveniente, non sconveniente, un linguaggio conforme alla Dottrina del Governo, non in contrasto con essa, un linguaggio gradevole, non sgradevole, un lin...

Jutta Koether ░ Best of Studios

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Jutta Koether at Campoli Presti

Artist: Jutta Koether
Venue: Campoli Presti, London
Exhibition Title: Best of Studios
Date: October 8 – November 12, 2016

Full gallery of images, press release and link available after the jump.
Images:
Courtesy of the artist and Campoli Presti, London/Paris
Press Release:
Campoli Presti is pleased to present Jutta Koether’s fifth solo exhibition with the gallery. Questioning the traditional hierarchies of painting, Koether’s work deconstructs the distinction between copy and original. Painting opens up a broader discursive space through the incorporation of performance and the appropriation of art historical subjects and positions. InBest of Studios, Koether reframes the position of painting as a resistant body whose experimental character addresses the digital condition in which painting operates. Central to the exhibition are two large works from Koether’s recent series of Bruised Gridpaintings. Grids have been used in her practice since 2000. The 12-inch square grids began in 2007 and have been shown in interaction with other figurative works or as performing agents in lectures. Koether’s gridded works thwart the geometrical landmark of Western Art while defining a field of play. By addressing the attraction between archaism and metrics, Koether’s systematic application engages the viewer in a micro-contemplation, as if the viewer was picking up pennies from the ground. As a counterpart to the comprehensive, external perspective of painting suggested by the gridded works, K-Bild, Withers Plant and VLP Plant address the internal sphere in which art also circulates. In K-Bild the artist inscribes herself into the layers and brings language into painting. Part of Koether’s consideration of painting as an actual body, the thick, almost independent materiality of the impasto gives the work a physical, substantial appearance.Through insisting, noisy techniques of applying paint in deliberated zones, Koether penetrates into the historical organization of painting’s different fields of passage.
Jutta Koether (1958) lives and works in New York and Berlin. Koether has an upcoming survey exhibition at Museum Brandhorst, Munich (2018) that will travel to the Serralves Museum, Portugal. Her work forms part of the permanent collections of MoMA, New York; The Whitney Museum of American Art, New York; Musée d’art moderne de la ville de Paris; Museum of Contemporary Art (MOCA), Los Angeles; Nationalgalerie, Berlin and Kunsthalle Bern. Koether has had solo exhibitions at DCA – Dundee Contemporary Arts (2013); Arnolfini, Bristol (2013); Moderna Museet, Stockholm (2011); Bergen Kunsthall, Norway (2008); Kunsthalle Bern, Switzerland (2007) and Koelnischer Kunstverein, Cologne (2006). Her work was included in the 2014 Shanghai Biennial; in the Whitney Biennials in 2012 and 2006 and in the 2012 Sao Paulo Biennial.