In Meiro Koizumi's three-channel video installation, The Angels of Testimony (2019), the central frame features an interview with Hajime Kondo about his time as a solider of the Imperial Japanese Army during the Second Sino-Japanese War. The conversation centres on war crimes perpetrated in China, including the beheading of Chinese prisoners for...
Diana Campbell Betancourt is a curator working predominantly across South and Southeast Asia. Since 2013 she has been the founding artistic director of the Samdani Art Foundation and chief curator of the Dhaka Art Summit in Dhaka, Bangladesh, a transnational art event that has grown in size and scale ever since its first edition in 2012. Backed by...
China, home to 802 million internet users, is subject to sophisticated online censorship. This shrouded state of affairs, unsurprisingly perhaps, serves to reinforce stereotypes around conformity elsewhere. Any realm, digital or otherwise, subject to such strict scrutiny must necessarily be bland and uncritical, right? I was mulling over such...
Exhibition view: Darren Bader, character limit, Blum & Poe, Los Angeles (3 November 2018–12 January 2019). © Darren Bader. Courtesy the artist and Blum & Poe, Los Angeles/New York/ Tokyo. Photo: Heather Rasmussen.
How much of Darren Bader's art do we need in the world? The world, after all, is already full of the kinds of objects that Bader brings into his exhibitions: art, words, images, personalities, ideas. Its very fullness is arguably the condition that Bader's work both critiques and thrives on. 'The world is full of objects, more or less interesting; I do not wish to add any more,' Douglas Huebler famously wrote in 1970.
Darren Bader (Bridgeport, CT, 1978) lives and works in New York.
Solo shows of his work held in institutions include (@mined_oud) Madre, Naples, (2017–2018); Meaning and Difference, The Power Station, Dallas (2017); Reading Writing Arithmetic, Radio Athènes-Institute for the advancement of contemporary visual culture, Athens (2015); Where Is a Bicycle’s Vagina (and Other Inquiries) or Around the Samovar, 1857, Oslo (2012); Images, MoMA-PS1, New York (2012).
Awarded the Calder Prize in 2013, Bader has taken part in numerous group exhibitions and biennials including the following: 13éme Biennale de Lyon. La vie moderne, Lyon (2015); Under the Clouds: From Paranoia to the Digital Sublime, Serralves Museum of Contemporary Art, Porto (2015); The Whitney Biennial, The Whitney Museum of Contemporary Art, New York (2014); Antigrazioso, Palais de Tokyo, Parigi (2013); Something About a Tree, FLAG Foundation, New York (2013); Empire State, Palazzo delle Esposizioni, Rome (2013); Oh, you mean cellophane and all that crap, The Calder Foundation, New York (2012); Greater New York, MoMA-PS1, New York (2010); To Illustrate and Multiply: An Open Book, Museum of Contemporary Art, Los Angeles (2008).
Blum & Poe is pleased to present character limit, an exhibition by New York-based artist Darren Bader. This is the artist's second solo show with the gallery.
Darren Bader (b. 1978, Bridgeport, CT) lives and works in New York and on the road. Institutional solo exhibitions include (@minedoud), Madre Museum, Naples, Italy (2017–2018); Meaning and Difference, The Power Station, Dallas, TX (2017); chess: relatives, High Line Art, New York, NY (2017); light (and) regret, Kölnischer Kunstverein, Cologne, Germany (2015); and Images, MoMA PS1, Queens, NY (2012). Awarded the Calder Prize in 2013, Bader has taken part in numerous group exhibitions and biennials including Stories of Almost Everyone, Hammer Museum, Los Angeles, CA (2018); .com/.cn, K11 Art Foundation Pop-up Space, Hong Kong, China, traveled to chi K11 Art Museum, K11 Art Mall, Shanghai, China (2017); One, No One and One Hundred Thousand, Kunsthalle Wien, Vienna, Austria (2016); 13th Biennale de Lyon: La vie moderne, Lyon, France (2015); Under the Clouds: From Paranoia to the Digital Sublime, Serralves Museum of Contemporary Art, Porto, Portugal (2015); The Whitney Biennial, Whitney Museum of American Art, New York, NY (2014); Liberi Tutti, Fondazione Trussardi, Milan, Italy (2013); Antigrazioso, Palais de Tokyo, Paris, France (2013); D'Après Giorgio, Casa-Museo di Giorgio de Chirico, Rome, Italy (2012); Greater New York, MoMA PS1, Queens, NY (2010); and To Illustrate and Multiply: An Open Book, Museum of Contemporary Art, Los Angeles, CA (2008).
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