Auras and Levitations

https://collections.artsmia.org/art/11514/

“In My Office” Monte Carlo, 1996 ph. Helmut Newton

August Strindberg naively thought that leaving photographic material underneath the night sky would mirror the beauty of the cosmos. The image you see here was actually created thanks to chemical reactions happening overnight.

Tracing the full evolution over five decades of the thinking of Carl Andre – a crucial figure in the redefinition of contemporary sculpture – Dia Art Foundation presents “Carl Andre: Sculpture as Place, 1958–2010” until 2nd of March, 2015 (so luckily still plenty of time for a visit) at Dia:Beacon. This is the first museum survey of Andre’s entire oeuvre, and the first retrospective in North America since 1978–80. More info here.

MANIERA is open until 14th of June. Pass by this Friday and Saturday for the last chance to take a peek at 74, rue de la Caserne, Brussels.

One of the first photographs of the moon, taken in 1857 by John Dillwyn Llewelyn and his daughter Thereza. Llewelyn was an entrepreneur and one of the founders of the Royal Photographic Society. He and Thereza were both keen amateur astronomers and took a number of lunar photographs from the observatory Llewelyn had had built on his Penllergare estate in South Wales. Queen Victoria and Prince Albert bought many of his pioneering photographs to add to their collection.

Roe Ethridge

Niki de Saint Phalle, Be My Frankenstein, 1964 Paint, fence, various objects on plywood 25 5/8 x 31 1/2 x 9 7/8 in.

Laia Arguelles Zaragoza, März 2014

berlin, 1914 - getty images

These empty shops and closed arcades are all models built by the Bremen-based artist, Christian Haake. They formed part of his exhibition, White Elephant held at Gesellschaft fur Aktuelle Kunst (GAK) in Bremen in 2011. Passage, the almost life-size installation of a single shop front devoid of goods, provided the setting for the viewing of his film White Elephant, which presents a tracking shot through a seemingly endless parade of empty shops, in a closed, but strangely spotless, 1960’s era shopping arcade. The deep set windows still insistently drawing our eye into where the goods, the color, the stuff of the everyday should be, these abandoned shops seem particularly mutely expressive of absence. The reduced scale of Passage presents a bleached out, distilled and compressed simulacrum of reality – more ordered, less messy. One that seems dangerously near a void: an emptiness deeper that that just of shelves and interiors. Walter Benjamin’s Baudelairean flâneurwould have a bit of an existential crisis in this arcade.

Four Images that appear to be identical at first glance, until you notice the “building” of Roth’s shadowy identity in the lower left hand corner of each successive print.

Ueno Park, Tokyo