How should net art be classified, historicised, and exhibited, when time has elapsed between its initial production and its latter presentation? On view at the New Museum from 22 January to 26 May 2019, The Art Happens Here: Net Art's Archival Poetics presents 16 seminal artworks from Net Art Anthology, an ambitious two-year initiative undertaken...
Times Art Center Berlin is a non-profit art institution located in the Potsdamer Strasse Art District of Berlin. It was founded in July 2018 by the Guangdong Times Museum, a non-profit private art museum in the Pearl River Delta (PRD) region of China, making this the first parallel institution founded overseas by an Asia-based art museum. Its...
'Poems are like sentences that have taken their clothes off.' Marlene Dumas' poetic and sensual refrain accompanies her figurative watercolours on view in Possibilities for a Non-Alienated Life, the fourth edition of the Kochi-Muziris Biennale (KMB) in the southern state of Kerala, India (12 December 2018–29 March 2019).Dumas' new series...
Michael Lett is pleased to present THE MAKING OF CARBON COPY 2018, a new site-specific installation by Jacqueline Fraser.
This elaborate work offers an alternate behind-the-scenes narrative of the 1981 film Carbon Copy. Tackling prejudice within an exclusive Californian community, this comedy stars a young Denzel Washington in his feature-film debut.
THE MAKING OF CARBON COPY 2018 is bourgeois, elegant and formal. Gold tinsel chandeliers hang amidst swathes of fabric, collages and embroidery. Images taken from magazines and gardening books create fictional scenes from the film, repeating themselves in unexpected juxtapositions. Anything with a picture is fair game.
Fraser's 'THE MAKING OF' collages and installations are an ongoing series of works which are conceived as fictional, fantasies of possible cult movie remakes. Drawing on film as a starting point to explore different subcultures, these works often seek to challenge various social preconceptions.
Jacqueline Fraser has been nominated as a finalist in The Walters Prize 2018.
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