by Ariadna Zierold

If you are around Stockholm, don’t miss the group show called ‘Selfie’ at Gallery Steinsland Berliner. Opened August 21 ends September. 12.

selfie, escif, jason jagel, exhibition, the citrus report, upper playground

Participating artists include Jason Jägel, Cleon Peterson, Ryan Travis Christian, Alex Lukas, Geoff McFetridge, Jeroen Erosie, Øivin Horvei, HuskMitNavn, Escif and Lisa Jonasson.

selfie, escif, jason jagel, exhibition, the citrus report, upper playground


by Ariadna Zierold

Disappearing Acts will take its thematic basis on ideas of human agency disappearing through the processes of history, ecology, and technology. Organised as a large-scale group exhibition in the Jern & Bygg premises in Svolvær, Disappearing Acts will feature works by 24 artists, including 11 new commissions. These commissions include work that addresses the context of the Lofoten Islands, its histories of environmental dependency and retreat—such as Juha Pekka Matias Laakkonen’s work, produced during his one-month stay on the remote island of Lillemolla outside Svolvær; and Roderick Hietbrink’s sculptures that will be submerged into the sea for a period of three months before being presented in the exhibition.

dennis mcnulty, exhibition, the citrus report, upper playground

Other artist commissions include Anna Ådahl, Sam Basu, Jason Dodge, Hedwig Houben, Dennis McNulty, Katja Novitskova, Émilie Pitoiset, John Russell, and Jon Benjamin Tallerås.

Artist Dennis McNulty, who participated in a group exhibition at Fifty24SF in 2002, re-engages the colors, shapes, and layouts of early 1980s men’s magazine design, zeroing in on the genre’s own re-engagement of the pinup icons of the 1940s and 1950s. Mindful of the broader definitions of “pervert” as both noun and verb, McNulty distorts the quasi-underground tradition of pinup art, presenting it not as nostalgia or historical quotation, but as a subjective, personal aesthetic interpretation. The results are provocative, infused with a disquieting sexual force that is by turns amusing and unsettling.

The exhibition is open from 28 August–27 September 2015.



by Ariadna Zierold

Loved world-wide for their drawings, prints and sculptures of carefully rendered and cartoon-ified urban landscapes, otherworldly (and very-worldly) creatures and multi-faceted studies into our environment, artists Kozyndan – Kozy and Dan Kitchens – will be exhibiting with Outré Gallery in 2015 featuring new works by the duo.

kozyndan, exhibition, outre gallery, australia, the citrus report, upper playground

The pair will visit Australia with a three-city tour in October – dates to be confirmed – and their showcase is expected to be an awe inspiring recreation of nature through their eyes – all encompassing realms of oddities and off-kilter visions of our world at large.

Cai Guo-Qiang “Mystery Circle” for MOCA

æOver 40,000 rockets blasting off from the wall of the Geffen Contemporary at MOCA. On Saturday April 7, artist Cai Guo-Qiang marked the opening of his exhibition with Mystery Circle: Explosion Event for The Museum of Contemporary Art, Los Angeles; a site-specific work created for MOCA.”

On view April 8, 2012–JULY 30, 2012
The Gefffen Contemporary at MOCA

From The Citrus Report

Posted By The Citrus Report

Ed Ruscha x Dennis Hopper Exhibition Poster, Ferus Gallery, 1964

hopper Ed Ruscha x Dennis Hopper Exhibition Poster, Ferus Gallery, 1964 new york nada ferus gallery Ed Ruscha Dennis Hopper alden projects

Featured at the Alden Projects booth at the NADA Fair New York this past weekend was this gem; a 1964 exhibition poster of Ed Ruscha’s exhibition at Ferus Gallery, featuring an iconic photograph by Dennis Hopper. Probably our favorite thing we saw all weekend…

From Alden:

This is the vintage exhibition poster commemorating Ed Ruscha’s second one-person exhibition that opened at Ferus on October 20th, 1964 and where Ruscha originally exhibited his paintings of gasoline stations for the first time. This printing constitutes the original reception context for his friend, Dennis Hopper’s now infamous 1961 photograph taken through a windshield at the intersection of Santa Monica and Melrose: it captures a pit stop to which Ruscha would return again: a Standard Station and its doubled signs. A billboard over the gasoline station reads: “Smart Women Cook with Gas in Balanced Power Homes,” slyly eliding Ruscha’s own interest in signs, wordplay, gasoline stations, and small fires evident in his then-recent works. The photographic image is juxtaposed not with the quotidian details of the exhibition’s place and time, but simply with the loud signal of an early Op-like typeface, honking the artist’s name in green ink: “RUSCHA”.

Although Dennis Hopper’s photographs were incorporated into several Ferus Gallery exhibition poster contexts, this one—whose vantage and subject dovetails so closely with the young Ruscha’s own aims—was both a familiar and uncanny choice. “The Double Standard photograph of mine,” Hopper recalled, “which I took in 1961 was Ed’s announcement for his 1964 show (at Ferus) of paintings of Standard gas stations, one of which I bought, I think, for $780.” That the double boomerang of Hopper and Ruscha’s photographic readymades depicting urban scrawl — gasoline stations, billboards/signs, wordplay, font-play, and more — finds cross-pollination in this particular and original ephemeral context is a combustible elixir of Los Angeles car, cool, fame, and flame. This perplexing publication is the authentic 1964 issue, printed in its vintage strike. Very good condition. With no pinholes or time staining. Not to be confused with the different printed context of Ace Gallery’s re-issue of Hopper’s negatives as over-sized, boutique art photographs in 2006.

Tauba Auerbach’s “Float” @ Paula Cooper Gallery, NYC

Manhattan 20120507 00094 2 605x453 Tauba Auerbachs Float @ Paula Cooper Gallery, NYC Tauba Auerbach paula cooper gallery float

This is how Tauba Auerbach and Paula Cooper Gallery of NYC announced her newest exhibition that opened this past weekend. We like a good bit of pretension in the arts, especially with invites and announcements. We weren’t invited. But we still like the art.

In her acclaimed series of Fold paintings, first introduced in 2009, Auerbach presents powdery trompe l’oeil surfaces that register the traces of their former three-dimensionality. Painted with an industrial sprayer, the works draw attention to the physical properties of pigment imitating light. Alongside new Fold paintings, this exhibition will include a new series of Weave paintings, presented for the first time in the United States. As with folding, Auerbach uses weaving to reassess and thoroughly transform the flat picture plane. Elusive topographies emerge from the monochromatic works, bringing the viewer into a subtly shifting world of ruptures and continuities, reliefs and recesses.

In addition to the paintings, the exhibition will present new photographs and sculptural objects, including Onyx, a deconstructed material volume printed and bound in book form. As Auerbach once observed, “A book is an X-axis. The format is almost always linear; the content, bound in a prescribed order, marches single file.”* Inspired by a desire to upend this theory, Auerbach resorts to tomography (the method of producing images of the internal structure of an object), allowing the viewer to slice through a solid block of onyx layer by layer, revealing the twists and turns of a mineral narrative.

From The Citrus Report

Posted By The Citrus Report

First Friday: 2Pac (Makaveli) “Hail Mary”

If we are going to celebrate the work of Michael Miller and his exhibition at FIFTY24SF Gallery, “West Coast Hip-Hop: A History in Pictures,” then we are going to celebrate 2Pac’s last studio album, Makaveli and the The Don Killuminati: The 7 Day Theory and “Hail Mary.” Hard to imagine this man was only 26. Legend. Of. The. Game.

From The Citrus Report

Posted By The Citrus Report

Ryan McGinness @ Pace Primitive, NYC

2012 03 GeometricPrimitives Ryan McGinness @ Pace Primitive, NYC Ryan McGinness pace primitive

Something to do on March 30, 2012. If you live in the NYC area, that is. If you don’t know what it means to have a show at Pace Primitive and have the name Ryan McGinness, this is what its about: “In constructive solid geometry, primitives are simple geometric shapes such as the cube, cylinder, sphere, cone, pyramid, and torus. The schematic reduction of the human figure historically found in African art profoundly influenced Modern art. Rather than a naturalistic approach to sculpture, African art has emphasized simplified volumetric form and line. “Geometric Primitives” is also a term used in computer graphics to refer to the smallest and irreducible geometric elements that the system can handle. In vector graphics, geometric primitives are lines, circles, curves, and polygons. In this exhibition, Ryan McGinness takes the geometric primitives of African art objects and creates two-dimensional geometric primitives which are then used to create this new body of work. The results are a series of paintings, works on paper, cyanotypes, and prints which take the modernist approach into the 21st Century.”

From The Citrus Report

Posted By The Citrus Report