Fred Wilson, installation view, photo by author

In his first major exhibition in the United States since 2006, Fred Wilson is showing his Murano glass sculptures from the 2011 Venice Biennale. The show, titled “Venice Suite: Sala Longhi and Related Works,” features black and white chandeliers, black mirrors, and black droplets, which resemble pools of black liquid on the gallery floor. The glasswork is beautiful, but its beauty is almost irrelevant, except insofar as it represents a conscious choice on the part of the artist. …

Julia Oldham, “Coyote Woman in the Cascades,” 2016, Archival Inkjet Print on Hahnemuhle German Etching, courtesy of the artist and 184 Project Space

I had the pleasure of meeting Donna Cleary in 2013, when we collaborated with the artist Jesse McCloskey to curate a pop-up exhibition on The Bowery. The show was a success, and inspired by the experience, Donna decided to hold exhibitions in her own apartment the following year. She named the project after her apartment number in Clinton Hill, Brooklyn, and thus, 184 Project Space was born.

On a sunny afternoon in September, I met with the artist Joelle Provost to chat about her recent exhibition The Art of Our Modern Landscape.

Joelle Provost, Self Portrait From the Vantage Point of a Mirror in the Sky Looking Down at the Horror of the World, 30 by 30", 2017, oil on canvas, courtesy of the artist.

The show was completely self funded by Provost, who launched a successful Kickstarter campaign in order to rent Room Art Gallery in Mill Valley, California, where the show took place.

Touching on issues of environmentalism, modernization, sexual equality, and art history, this new body of work puts Provost on the map as an emerging painter of note. The following text of our conversation has been lightly edited for fluency.

Dave Willis: Please tell us about…

Yee I Lann, “Like the Banana Tree at the Gate: Ibu or the Beast”, 2016. Giclee print on Hahnemuhle photograph paper, 61 x 205cm, courtesy of the artist and Sa Sa Bassac

Bringing together thirteen of the region’s most exciting artists, the latest exhibition at Sa Sa Bassac (Cambodia’s leading contemporary art gallery) pokes and prods at power dynamics at play around the region.

Curated by Sa Sa Bassac Director Erin Gleeson in collaboration with May Adadol Ingawanij and Ben Valentine, On Attachments and Unknowns is composed mostly of photographic projects and videos dealing with a wide array of socio-political issues relevant to the artists’ diverse cultural perspectives and concerns.

Théo Mercier, “Panorama Zéro” installation view , courtesy of the artist and Bugada & Cargnel

While the up-and-coming Parisian art district of Belleville is mostly populated by diminutive galleries occupying storefront spaces, Bugada & Cargnel stands out as the exception to the rule. Boasting a voluminous warehouse type space with a lofty ceiling, the gallery is well suited to show large and ambitious work, and that is precisely what they have done in their current exhibition of Théo Mercier (the artist’s first solo at the gallery).

Titled “Panorama Zéro” and consisting of photographs and a collection of faux artifacts from both the past and the present, the show struck an implicitly apocalyptic note, as if…

“Head Without Brain” installation view, courtesy of Vanguard Gallery, Shanghai

For his debut solo show, the young artist Zhu Chanquan chose the title “Head Without A Brain,” evoking a zombie-like existence where the self has been hollowed out.

This prompts us to consider the enormous amount of information and images we consume on a daily basis. The head without a brain is happy to be hi-jacked; it surrenders the reigns willingly, glad to be free from the prison of its own thoughts, as when falling into a youtube hole, binging on a TV show, or playing a video game when you have better things to do.

I was reminded of…

“Liquid Truth_Thinker” Xue Mu, Archival Pigment Print, 80 x 60 cm, courtesy of the artist and Yeo Workshop

For “Liquid Truth,” her second solo show at Yeo Workshop in Singapore, Chinese born, Amsterdam based Xue Mu took on iconic images from Western Art history, making them her own and casting them in a new light.

Promotional image for “The Timeless Present Moment,” courtesy of the artist and Maiiam Contemporary Art Museum

For their second exhibition to date, the MAIIAM Contemporary Art Museum—which just opened its doors in Chiang Mai last July—presented a massive retrospective of veteran Thai artist Kamin Lertchaiprasert. Titled “The Timeless Present Moment”, the show ran from September 25th to February 6th 2017, featuring everything from sculpture and painting to video and installation. Spanning the length of this versatile artist’s career, the exhibition emphasized his enduring interest in Buddhist philosophy, no matter which medium he uses.

Walking from the MAIIAM’s inner courtyard into the main exhibition hall, viewers were greeted by a life-like cast resin sculpture of the artist’s…

[artworks from left to right] “Rubber-Miro” 2015, Acrylic and UV ink on canvas, 84 x 69 inches (213.4 x 175.3 cm) / “Cotton Crown” 2016, 84 x 64 inches (213.4 x 162.56 cm) © Jeff Elrod; Courtesy of the artist and Luhring Augustine, New York.

“This Brutal World” was a one man show that ran from September 9th to October 23rd, 2016 at both New York locations of Luhring Augustine, featuring two different bodies of work by Jeff Elrod, both of which complicate the concept of painting through digital process.

The Chelsea gallery featured many of his signature line-filled paintings, made using a mouse in Adobe Illustrator, which he then projects onto canvas and meticulously reproduces using tape and acrylic paint. …

“Spiritual Spaceship” (2017) mixed media installation by Hern aka. Torlarp Jaroensook

Thai artist Torlarp Larpjaroensook (aka. Hern) uses his art to navigate the space between technology and tradition. I visited his studio in Chiang Mai to check out his installation “Spiritual Spaceship,” which will go on display in Singapore next month.

The installation emerged out of his long running series of smaller spaceship sculptures he has been making under the same title. Fabricated from porcelain vases with glowing lightbulbs for rocket boosters, the little spaceships were originally inspired by his grandmother, who used to pray to the moon each time NASA launched a space mission.

Hern recalls how she kept porcelain…

David Willis

Professional Art Critic, specialist in SEA. Interests include crypto, travel & martial arts. Follow me on Instagram @wileydavewillis

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