From Basel to Hong Kong, Don’t Miss These Dreamy Exhibitions and Events

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Katja Novitskova and Timur Si-Qin, Installation view at the Center for Curatorial Studies: Bard College, Annandale-on-Hudson, NY

I'm going to imagine a time in which post-internet megabucks are really rolling in, and I'm equipped with a private Rhizome Vistajet. If that time happened to be this week, I’d be sure to hit up these exhibitions and events, ranging from Katja Novitskova and Timur Si-Qin's upstate New York exhibition to Robin Peckham's new art fair excursions in Hong Kong. Check out the upcoming exhibitions listed below, with a couple outstanding shows not to be missed. 

“Bcc 9: Das Ei ohne Schale.” at Oslo10, Basel, Switzerland
Opening Thursday, May 10th at 7PM.

Is Bcc the new BYOB? Oslo10, a new exhibition space in Kunstfreilager/Dreispitz, just outside of Basel, Switzerland, will host the ninth edition of Bcc. Originated by Aurélia Defrance, Julie Grosche and Aude Pariset, who have also curated this edition, the exhibition format mandates that all artists submit their work digitally, rather than physically. Artists in this round include Harm van den Dorpel, Calla Henkel and Max Pitegoff, Stephen Lichty, Sara Ludy, Mélodie Mousset.

Kate Steciw, “Live Laugh Love” at The Green Room, London
Opening Friday May 11th at 6:00pm, runs through June 17

Surprisingly, this is Kate Steciw’s (much belated) first exhibition in Europe. Green Room programmer Ché Zara Blomfield seems to be aggressively bringing the work of American “internet-related” artists to London, her last exhibition mounting the work of Artie Vierkant, and previously showing Petra Cortright.

Rhizome Benefit – New York, NY
May 9th at 7pm, VIP Cocktails with a silent auction and DJ set by Venus X, 9PM, Afterparty with LE1F and Extreme Animals

Alright, this is a shoo-in, but come party with us! Support Rhizome, drink some drinks, and enjoy ...

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Artist Profile: Artie Vierkant

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Artie Vierkant, Image Objects 2011

You are continuing to explore your Image Objects series for your Rhizome commission, which seems to deal with new elements of the age-old difficulties with representation and the power of images. In your statement, you say you introduce distortion in an attempt to intentionally "not accurately represent the physical sculpture" which seems to imply that a photograph, straight out of the camera, will 'accurately represent' the physical sculpture. Do you think that this is true, or possible?  What do you think that your distortions introduce to the images?

The thinking behind Image Objects has always been that by introducing distortions (and layers of other imagery) into the images I can make the viewing experience on the Internet or through other mediated sources fundamentally different from viewing the objects in an installation setting. It also allows me to make a lot more pieces than I could otherwise. These all start as digital files, so ultimately it's rather arbitrary at what point I decide that a file I'm working on is ready to be physically produced—any one of these could easily have undergone more changes, had more or less layers, &c. So by having a piece produced physically and then splitting it into all of these different variations I have the opportunity to sort of go back into it and reshape it into all of the other shapes it could have been.

All of this does stem a bit from, yes, feeling that for the most part installation photographs very accurately represent what a physical sculpture looks like. When I see documentation of works before I visit the exhibition, usually the act of visiting does little more than produce a sense of deja vu. Even if not, install photos are usually an idealized version ...

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