I'm pleased to announce that the first exhibition in the new programme of MACRO will take place from 17 July to 27 September 2020, a show conceived as an editorial by the Artistic Director Luca Lo Pinto.
An editorial introduces the contents of a magazine or a series of publications. It can launch a new project, speak of intentions, foreshadow provocations. It sets out to engage those who will peruse those contents, or take part in those initiatives. Likewise, the fifty-five works included in the exhibition suggest directions, positions and languages of the three-year programme of Museum for Preventive Imagination. They are the contents — not yet placed in a layout — of a future living magazine.
Ho il piacere di annunciarti che dal 17 luglio al 27 settembre 2020 si terrà “Museo per l’Immaginazione Preventiva — EDITORIALE”, la prima mostra del nuovo programma del MACRO, concepita come un editoriale dal Direttore Artistico Luca Lo Pinto.
Con un editoriale si introducono i contenuti di una rivista o di una collana, si lancia un nuovo progetto, si raccontano intenzioni, si anticipano provocazioni e si cerca di coinvolgere chi vorrà poi sfogliare quelle pagine, o farne parte. Allo stesso modo, le cinquantacinque opere che compongono la mostra suggeriscono direzioni, posizioni e linguaggi del programma triennale di Museo per l’Immaginazione Preventiva. Sono i contenuti non ancora impaginati di una futura rivista vivente.
April 15: number 15 on #1to31exhibition is a work by Puppies Puppies selected from the collection of Collecteurs member Ryan Jefferies (@_.___________.___________._). Drawing inspiration from kitsch, everyday objects and bodily fluids, Puppies Puppies employs the readymade as a vessel for revealing personal histories. In “Untitled, 2014,” she fills a condom with SPF 15 sunscreen, creating a physical body without the actual body present, while telling a complex story about love with just two simple materials. Additionally, we take a look into stories of LGBTQ resistance with an article on the White Night Riots in San Francisco in 1979, and the story of Mexican revolutionary Amelio Robles Ávila—who stuck his gun in the face of individuals who mis-gendered him until they acknowledged him as male. The article “Stories from the History of LGBTQ Resistance” is the fourth installment of a collaboration between Collecteurs and Working Class History (@workingclasshistory), a project dedicated to bringing to light the everyday actions of citizens; the working class. Dive deeper at our digital museum with the link in bio. ‘1-31’ is curated by @adammcarr - #puppiespuppies#workingclasshistory#adamcarr@collecteurs
Even tho people are not walking by my house like they use too we still activate #PuppiesPuppies Green Medical Marijuana Sign. Makes me so happy when we come back from a quick walk around the neighborhood with the dog. @puppiespuppiesjade 💚💚💚 #livingwithart
💙Hugey bear💙 Daft as a puppy daft as a dog, still hasn’t outgrown his bambi legs, he’s mischievous but because he’s so handsome he gets away with it, we don’t get far when we are out on walkies without someone stopping us to admire his good looks and he keeps us all entertained and is the best at cheering his pals and dog walker up on a gloomy day .. no one is sad when Hugo is about! 🥺🥰🐾😝🤪 #takingitback#puppiespuppies#foxredlabrador#littlepuppy#sohandsome#cheekypup#lovehim
Aus der Sammlungspräsentation „So wie wir sind 2.0“: Puppies Puppies (Jade Kuriki Olivo)
Untitled (Purell Dispenser), 2012
Collection of R F Jefferies
Als wir die Arbeit für die Ausstellung eingeplant haben, dachte noch niemand an Corona. Nun hängen zwei Desinfektionsspender im Eingangsbereich zu den Etagen. Was als Skulptur gemeint ist, wirkt nun wie eine ganz selbstverständliche Schutzmaßnahme. Der Text zur Arbeit wurde Anfang Januar geschrieben. Prüft selbst, wie der jetzt noch passt:
An öffentlichen Orten, dort wo viele Menschen zusammenkommen, kann Gemeinschaft unmittelbar erlebt werden. Doch diese Orte erscheinen heutzutage immer bedrohlicher, nicht zuletzt durch die sensationsheischende Berichterstattung vieler Medien: Krankheiten, Terroranschläge etc. Puppies Puppies macht auf unser Verhältnis zu realen, aber auch zu gefühlten Bedrohungslagen aufmerksam. Desinfektionsspender gehören zur Standardausstattung von Krankenhäusern, in einem Museum wirken sie allerdings (noch) fehl am Platz. #weserburg@_.___________.___________._#puppiespuppies#puppiespuppiesjadekurikiolivo#jadekurikiolivo#corona
#LenaYoukhana ‘An apartment for sale next to Hotel Beirut and Hurrya Mall on Baghdad Street, Cairo’ (2016)
Found video (11 minutes 25 seconds) ~
Lena Youkhana's exhibition at Queer Thoughts (March 2017) includes three recent works of found video taken from websites where users uploaded them. In this case, two of the works originated in Iraq and one originated in Egypt.
In the main gallery, two works from a recent series are projected. Both were produced originally as documentation of homes available for sale. In the video installed in the gallery's back room, a night vision camera records a young man raping a donkey in an Iraqi village. The video is narrated by an American man presumably affiliated with the military.
Remembering this Puppies Puppies work!
Toilet paper grid (installation)
Toilet paper grid (installation)
150 toilet papers, 150 toilet papers holders ( site specific )
Paintings by Will Benedict
various dimensions. #puppiespuppies#balicehertling#willbenedict
1 12717 March, 2020
“I got whiplash from waking too suddenly from a dream.“ One scene for every year of the last decade, by Fiona Alison Duncan. Get Spike #62 “The 2010s“ in your favourite bookstore or in our webshop!
We’re ready at Independent New York @independent_hq, Fifth Floor, with works by Rochelle Feinstein, Wade Guyton, Vaclav Pozarek, Sam Pulitzer, Puppies Puppies (Jade Kuriki Olivo), Josef Strau, Stefan Tcherepnin
While the exhibition uses the platforms of social media and a website, and takes place exclusively on these platforms, its inspiration is taken in part from a moment prior to the Internet’s inception: Seth Siegelaub’s pioneering work in the 1960s and his exhibitions March 1969 (1969) and July, August, September 1969 (1969). In the spirit of both exhibitions, 1-31 conflates art’s documentation with its presentation and vice versa, where perhaps the experience of art breaks away from the traditional confines of museum, institution and gallery to something less governed and more remote. Unlike traditional exhibitions, 1-31 will be complete on the last day and will stay in the view of the public afterwards in its final shape. @collecteurs
While the exhibition uses the platforms of social media and a website, and takes place exclusively on these platforms, its inspiration is taken in part from a moment prior to the Internet’s inception: Seth Siegelaub’s pioneering work in the 1960s and his exhibitions March 1969 (1969) and July, August, September 1969 (1969). In the spirit of both exhibitions, 1-31 conflates art’s documentation with its presentation and vice versa, where perhaps the experience of art breaks away from the traditional confines of museum, institution and gallery to something less governed and more remote. Unlike traditional exhibitions, 1-31 will present new works and related content over the course of three months. The exhibition will be complete on the last day and will stay in the view of the public afterwards in its final shape.