Jimmie Durham, 'The Dangers of Petrification,' 2007 (in the foreground); Candida Höfer, 'Musée du quai Banly Paris l,' 2003; Angentur/Agency, 'Versammlung (Animismus) l Assembly (Animism),' 1992 (photographs courtesy of Generali Foundation, Vienna. Installation view, September 15, 2011-January 29, 2012)
Animism, curated by Anselm Franke
April 26-July 28, 2012
311 East Broadway
New York, New York
Animism, by definition the integration of spiritual life into all objects including those without a pulse, is an expansive subject for an art exhibition. The term itself engages the imagination and a dialogue that references the mythological past as well as impending future. The exhibition itself presents historical documents, contemporary work, films, and archival displays to suggest a lofty narrative that bounces between Walt Disney, Marcel Broodthaers, Joachim Koester, Ken Jacobs, Daria Martin, and Vincent Monnikendam, among others. Is an object, a conglomeration of contours and mass, ever truly just an object?
Jimmie Durham, 'The Dangers of Petrification,' 2007 (Image courtesy of Generali Foundation, Vienna. From installation September 15, 2011-January 29, 2012)
Tun Win Aung and Wah Nu, 'White Piece #0100: Target,' 2011, Acrylic, comic page on canvas, 15.3 x 11.1 Inches
April 26-June 2, 2012
511 West 22nd Street
New York, New York.
Meulensteen presents seven artists that rehash the lives of their subject matter and materials. Lions (2010), an animated skit from Oliver Michaels’s series Museum Postcards, imbues a marble lion from the Met’s collection with the power of speech. He discusses the scent of an undisclosed object, noting sewage, bitter almonds, cum, and butter as tasting notes. The stoic lion, seemingly knowledgeable yet impossibly so, is an emblem for the concept of the show: an unlikely art reference bought to life in a new light.
Monique Prieto, 'Repent!, Repent!,' 2008, Oil on canvas, 30 x 96 Inches
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