Ed Templeton's 'Wires Crossed' is part of the group exhibition ‘Turning the Page’ at Pier 24 Photo Museum, San Francisco, CA, US. ⁠
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In 'Wires Crossed' Templeton shares all aspects of his life and the lives of his friends and colleagues. On their tours, they explore their own boundaries, both physical and mental. The photos show the twilight zone between adolescence and adult life: jokes, broken bones, boredom, arguments and sex.⁠
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The exhibition is on view through December 31, 2024⁠

Photo: Josef Jacques

The work of Eduardo Terrazas, spanning five decades from 1968 to 2023, is currently featured in a comprehensive exhibition at The Museum of Contemporary Art of Monterrey (MARCO).

“The Museum of Contemporary Art of Monterrey presents the exhibition Eduardo Terrazas. Multiple balance. Works and projects (1968-2023), a retrospective of more than five decades of the career and legacy of the Mexican architect, designer and artist. The exhibition comes from the Museum of the Palace of Fine Arts and is organized in collaboration with the federal Ministry of Culture and the National Institute of Fine Arts and Literature (INBAL). For its presentation at MARCO, projects developed by Terrazas for Monterrey were added to the exhibition, such as Cintermex, located inside the Fundidora Park.

Curated by Daniel Garza Usabiaga, who points out that Terrazas' projects throughout his career “have stood out for their iconic character; Furthermore, their humanist vocation unites them.” And through multiple disciplines, Terrazas has created stimulating and imaginative works, many of them placing the viewer as an important part of the piece. In the exhibition at MARCO, the public will be able to appreciate not only the pieces of geometric and color composition that distinguish Terrazas, with its wool thread technique applied to the surface with Campeche wax, but will also have the experience of enjoying immersive installations, such as Crecimiento exponential (2014) or the recreation of the Imagen México mural, a logo printed on reflective metallic paper that he created in 1969 for the inauguration of the Metro in Mexico City, which was included in the exhibition Graphics 1: New Dimensions at the Museum of Art New York Modern (MoMA) in 1970.”
- MARCO

The exhibition is on view until November 2024

Lea Porsager and FOS are part of the group exhibition "Naboplanter" at Den Frie Udstillingsbygning⁠. ⁠

The exhibition is on view from 13.04.24 — 26.05.24. 

For more information, please find a link here.

⁠Photo: Malle Madsen. 

Runo Lagomarsino's permanent commission "Platsens ljus – Spaces of Light", 2024, is now completed in the entrance hall of the new Skåne University Hospital building in Malmö, Sweden. The work illuminates the foyer with 164 glass globes suspended at different heights from the ceiling. 

Each lamp corresponds to one of the hospital's employees, sharing the light of the place they come from. When the day dawns in Santiago de Chile, dusk falls in Örnsköldsvik, Sweden; one lamp starts shining, another falls dark. The lights in the lamps are in constant movement following the different cities placement in relation to the sun. With its warm, shimmering light, the work links people and places, from Malmö and across the globe. 

The dynamic aspect of the work, where the lamps change light depending on the time in different parts of the world, serves as a constant reminder of the global interconnection This not only provides a visual experience but also a temporal and geographical one, reinforcing the feeling that Malmö's hospital is a place where the world converges.

Photos: Helena Toresdotter and Daniel Persson

24.05.24, 4:30–5pm⁠
GLENTEVEJ 49⁠ · COPENHAGEN

Please join us on Friday, May 24, 4:30 pm at Glentevej 49, Copenhagen, for an Artist Talk with Matthew Ronay and Simon Starling. Ronay will be introducing his solo exhibition, Fruitbody, in conversation with the Turner Prize-winning artist Simon Starling, whose practice spans a wide variety of media, including film, installation, and photography.

Read about the exhibition
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Matthew Ronay’s (b. 1976) sculptures are rooted in automatic drawings, allowing the subconscious mind to guide the hand without preconceived notions. By relinquishing control, the artist taps into deeper layers of consciousness, unveiling hidden aspects of the psyche. The works are generally abstract and non-representational, but they resonate strongly with nature’s vocabulary: tubes, bumps, warts, eggs, and orifices. The sculptures also embrace nature’s themes of reproduction and degradation and depend on the space between their parts, implying the intimacy of touch, which viewers often perceive in a haptic way. Working primarily in basswood, Ronay creates all of his works unassisted, investing the sculptures with rhythmic textures and shapes that seem to have “grown” autonomously.

Simon Starling was born in Epsom, England, in 1967. He graduated from the Glasgow School of Art, and was professor of fine arts at the Städelschule in Frankfurt from 2003 to 2013. His practice spans a wide variety of media, including film, installation and photography. Starling won the Turner Prize in 2005 and was shortlisted for the Hugo Boss Prize in 2004. He represented Scotland at the Venice Biennale in 2003 and has had solo exhibitions at Frac Ile-de-France, Le Plateau in Paris (2019), Musée regional d’art contemporain in Sérignan (2017), Japan Society in New York (2016), Museo Experimental El Eco in Mexico City (2015), Museum of Contemporary Art in Chicago (2014), Monash University Museum of Art in Melbourne (2013), Staatsgalerie Stuttgart in Germany (2013), Hiroshima City Museum of Contemporary Art in Japan (2011), Massachusetts Museum of Contemporary Art in North Adams (2008), Power Plant in Toronto (2008), Musée d’art contemporain du Val-de-Marne in Vitry-sur-Seine (2009), Tate Britain in London (2013, 2009) and Temporäre Kunsthalle Berlin (2009).

Eduardo Terrazas' work "1.1.91" (1970/1972) is part of the 60th edition of The International Art Exhibition of La Biennale di Venezia "Stranieri Ovunque - Foreigners Everywhere", curated by Adriano Pedrosa.⁠ ⁠

Eduardo Terrazas is an architect, designer, and visual artist known for his vast experience as a painter. From the beginning of his career, 1.1.91 (1970–1972) exemplifies his experimentation with materials and his early work interested in recoding craft traditions. Working with the square and its contrast with the curvilinear aspect of the circle, Terrazas proposes strong chromatic contrasts that appeal to the eyes and to the physicality of the human body. The artist refers not only to modernist and European discussions regarding the place of abstraction in art history but also to Indigenous traditions and those associated with the working class in Latin America and elsewhere.⁠ ⁠

This is the first time the work of Eduardo Terrazas is presented at Biennale Arte.⁠ ⁠

- Raphael Fonseca⁠ ⁠

SUPERFLEX are participating in Biennale Arte 2024 with "Foreigners, Please Don’t Leave Us Alone With The Danes!"⁠ ⁠

The theme of the Biennale Arte 2024 is Foreigners Everywhere, a suggestion that every place is filled with foreigners, and that we are all foreigners. Curated by Adriano Pedrosa, the exhibition focuses on artists who are foreigners, immigrants, refugees, or part of diasporic communities. It is in this context that SUPERFLEX was invited to reimagine their work, Foreigners, Please Don’t Leave Us Alone With The Danes!⁠ ⁠

The artwork takes two forms. First, a stack of the original poster lays on the floor for visitors to take freely; 30,000 posters will be printed, ensuring that they once again spread far and wide. Second, a fast-paced slideshow of images is presented as a video. The images provide a historical glimpse of how people have displayed the poster in both public and private spaces. 

SUPERFLEX' work "It is Not The End Of The World" is part of the exhibition "Group Therapy" at Arken Museum of Contemporary Art, on view until July 28, 2024.

The works on display represent recent acquisitions to the museum's collection.⁠ "It Is Not The End Of The World" portrays the familiar phrase as an LED light sign installation reminiscent of a commercial billboard. The viewer is invited to reflect upon our present role in a world of escalating climate change and an apocalyptic human future while imagining a future world of lively, diverse, and perhaps even humanlike lifeforms.⁠

© SUPERFLEX, Photo credit: Emma Sennels⁠