Konrad Smoleński, Everything Was Forever, Until It Was No More

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Konrad Smoleński’s Everything Was Forever, Until It Was No More at the Polish Pavilion was one of the Futurelab’s favorite pieces at this year’s Venice Biennale.

At the top of every hour, the bells ring for only first five minutes, followed by ten minutes of feedback and reverb. Incredibly, somewhere in that time, the sounds reverberating in the space reassemble into the original sounds of the bells. This is a must-see of this year’s Biennale. Simple, yet imposing, every element plays an integral  role in the experience. If you have the pleasure, don’t leave until its over. Unfortunately, our video got erased over the course of our week in Venice, but this video will give you a sense of things. To see the bells in action, skip to 1.06.

Richard Mosse, The Enclave

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Richard Mosse, The Enclave, 2012 @ the Pavilion of Ireland, Venice Biennale 2013

One of this year’s Biennale favorites of The Futurelab is this stunning exhibition of photos and videos captured with kodak aerochrome infrared color film, an outdated technology once used for military surveillance. aerochrome film is intended to clearly denote the potential enemies in camouflage by turning everything in a landscape that contains chlorophyll pink. The result for Mosse is a haunting collection of surreal gems. Hope you enjoy.

Marwa Arsanios, “Have you ever killed a bear?”

MarwaArsaniosMarwa Arsanios, “Have you ever killed a bear?” or becoming Jamila, 2012 @ the 2013 Venice Biennale, Future Generation Art Prize

DSC03231 DSC03232 DSC03233 DSC03234Ryan Trecartin @ the Arsenale, Venice Biennale, 2013

Da Vinci (2012) by Yuri Ancarani is the third part in a trilogy of videos that explore the ritual-like gestures of three unique professions. Currently on view in the Arsenale at the Venice Biennale until September 2013.

Sara Sze @ the United States Pavilion, Venice Biennial 2013

Sara Sze @ the United States Pavilion, Venice Biennial 2013

If the Futurelab was to give its own Biennale awards, Sarah Sze would have been one of the winners.

This year’s US artist painstakingly transformed their Pavilion with a myriad of tiny objects, suspended from tiny strings, wire, wood, and plastic. There is a real feeling of being inside of another universe where Sze is the benevolent ruler.

Setting the tone for the exhibit, suspended precariously above the entrance to the US Pavilion are several enormous boulders that are situated on narrow boards, held down by only a few straps. One would be forgive for being afraid to come closer. Upon reaching the entrance, the viewer is greeted by another large rock placed safely on the ground, and it becomes obvious that the boulders are not rocks at all, but mere paper imposters. The surfaces are digital paper prints of rock texture pasted over a lightweight structures. And here begins the experience with Sarah Sze’s outstanding performance at this year’s Venice Biennale.

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Although Sarah Sze and the US did not win the Golden Lion this year, the Biennale’s top prize, her performance has been well-received.

This year’s prize went to Angola, with an equally stellar performance, with its much more subtle installation at the Palazzo Cini,conceived in 1984 as a house-museum, after a collection of Tuscan masterworks were donated by Princess Yana Cini Alliata de Montereale.)

The theme of the Biennale this year is Encyclopedic, and this is necessary to know when engaging Sze’s installations. One the one hand, there is an encyclopedic cataloging of her own personal objects(tea bags, granola bars, tools, and coffee cups), and on the other hand, obsessive micro representations of the marco (entire galaxies of things orbiting around precarious sun-like shapes. All the elements of our universe and all the elements of human life and death represented by the most unexpected and simplest of things makes for a truly eye-opening art experience.20130529-232536.jpg



Spanish Pavilion, Venice Biennale, 2013


Juan Miquel Pozo Cruz: Market@ Liebkranz Galerie, Auguststrsse 62, Berlin



Jenny Michel, System and Sensuality:from the Collection of the Ernst Schering Foundation, Kupferstichkabinett, Kulturforum, Berlin

Auguststr, Berlin


Helmut Newton, Arielle after haircut, 1982, CWC Galerie, Berlin

20130526-043114.jpgJeandup Sieff, Ina and Hitchcock, 1962 for Harper’s Bazaar, CWC Galerie, Berlin


Jeauloup Sieff, Twiggy in the ferns, 1967, CWC Galerie, Berlin


Helmut Newton, Jenny Kapitan, Pension Dorian, 1977, CWC Galerie, Berlin

Helmut Newton, “By-Product of an advertising sitting“, CWC Galerie, Berlin

Minimalist mural, Skalitzerstr 78, Berlin


Annette Selle Songs out of color@Aquabit, Augustr 35, Berlin-Mitte, May 2013


Frank Plant More than a feeling@3 punts Galerie, Berlin April-May 2013



Adrian Ghenie: New Paintings
@ Pace- 534 West 25th Street, New York March 8 – May 4, 2013

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Amy Cutler   Brood @ Leslie Tonkonow
January 26 – March 9, 2013

Francis AlÿsREEL-UNREEL @ David Zwirner
January 10 – February 9, 2013   New York

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Luc Tuymans The Summer is Over @ David Zwirner
January 10 – February 9, 2013   New York

Studio work from J. Lipovac, 2013

These little circle paintings are all about 10″ wide and done in acrylic. The first one is the most recent a piece of acrylic skin. The other two are on wood.



MARK BRADFORD @ Sikkema snd Jenkins NOVEMBER 13 – DECEMBER 22, 2012

MARK BRADFORD @ Sikkema snd Jenkins