1. Mark Moore Gallery proudly presents "Open to the Public,” an expansive exhibition of mixed-media drawings, assemblage, photography, video, and installations by the Clayton Brothers. Consisting of brothers Rob and Christian Clayton, the duo examines the mythos, culture, and visual language of an archetypal second-hand store located near their studio. Drawing from their observations of the venue and its visitors, the brothers entwine their independent approaches, styles, and palettes into works that operate as co-authored epics – which are rife with reoccurring motifs, gestures, and figures. The end result is a drama of shared experiences that fuse the concept of self with that of the communal, both in subject matter and practice.

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  2. Sometimes it seems that our everyday life is permeated with tension between opposing moments, feelings and decisions, which we try to balance as best we can. Above all, it means an endless search for the limits, questioning what governs one or the other extreme. It is no different in the field of art, where researching the tensions between the elements of the wider field of art has been a focus and essence of artistic examination since the 1960s. This is also the subject of the exhibition Tensions. While it is impossible to reduce the exhibition to a common denominator due to the diversity of the artists, some specific aspects and characteristics that experiment with the relationships that emerge between the spectator, the work of art and the exhibition space can nevertheless be highlighted.
    The works stem from rational and sensual impulses that directly address the spectator and examine the relationship between what the spectators experience at the visual level and pure ideas. The spectator thus navigates between different aspects of the works, draws the limits of their perception and questions material reality. The dynamic between the works in the venue, which re-interpret objects and establish new relationships between them and space, examines the experience of the spectator’s material reality and subtly connects the object with notions of the ephemeral, the fleeting and the short term. Tension is not only established by the exhibition as a whole. To paraphrase Igor Zabel, in this situation individual works themselves express a condition, a tension that emerges within them, a tension between the material and something at the fringes of their materiality, between the visual and non-visual, which translates into a complex and often multi-layered unity.
    As always, a dynamic between several elements emerges in the context of the exhibition medium whose mutual ‘choreography’ makes them seem complementary. Nevertheless, an open structure for reflection is enabled by the poetics of individual artists, enabling the spectator to make a transition through different fields of art, different periods, concepts, poetics and media, never really stopping, but only touching them and trying to connect them into a logical whole.
    It seems that this involves an intimate, individual story of discovery of the elements that make an art work contemporary and current, and an attempt to experience the work here and now. In this way, the individual is drawn into a choreography of unknown conceptual gestures, geo-political stories and subtle formal interventions that directly seek to create a tension between historical ideas and contemporaneity, between experience and non-experience, between the material and what lies at the edge of materiality, between the visual and the non- visual. Therefore, Tensions is a compendium of small intimate confessions which reveal a global society marked by an obsessive quest for possessions, while drowning in the infinity of their complete devaluation. Intimacy becomes something with which we no longer have any relation.
    Curator: Tevž Logar

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  3. Exhibition of two young Slovenian painters in Equrna gallery Ljubljana.

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  4. In Carsten Höller’s (* 1961 in Brussels) exhibition LEBEN at TBA21 visitors can experience a different kind of logic, one that is far from habitual. Themes of duplication and division are shown in the Vienna Twins video installation. The film installation Fara Fara shows auditions and rehearsals of the vibrant Congolese music scene. Elevator Bed (2010), the central element within the exhibition space, can be booked on a nightly basis by prospective guests.The bed is mounted on a platform, which can be raised to different heights, up to 3.5 meters. Guests are instructed to brush their teeth with Insensatus Vol. 1 Fig. 1, a dream-inducing toothpastes. Visitors can immerse in the floatation tank High Psycho Tank, experiencing a sense of weightlessness and sensory equilibrium. At the Gimpelwaage two pairs of trained bullfinches in two balanced aviaries whistle a melody that integrates into the leading soundtrack of the show. Outside, on the Augarten grounds, a moment of visual dissection is captured sculpturally in Giant Multiple Mushrooms. An extension of the exhibition at Augarten is Y (2003), a split passageway encircled by a seemingly infinite halo of flashing white lightbulbs, is installed at the Belvedere. Curated by Daniela Zyman. July 11 – November 23, 2014. Free admission.

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  5. More info here: asianart.org/exhibitions_index/gorgeous

    From the Asian Art Museum website:

    What’s “gorgeous” to you? There’s often a fine line between attraction and repulsion, but this summer at the Asian Art Museum, we’re drawing no lines at all.

    Gorgeous presents 72 uniquely stunning artworks drawn from the collections of the Asian Art Museum and the San Francisco Museum of Modern Art. Spanning over 2,200 years and dozens of cultures, these artworks are organized in an attempt to shift the focus from historical and cultural contexts, emphasizing instead the unique ways each work announces itself or solicits a viewer’s attention. Left to your own devices, you may gravitate toward the strange or the familiar. Some artworks may be beautiful to you; others, bizarre and challenging. Some may be all three. Whatever they are, your reactions to the show will be unique. And that’s what interests us. As Allison Harding, co-curator of Gorgeous, puts it, “This isn’t about what the museum thinks. This is about what you think.”

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