|*FEATURED EVENTS*||Antique Shows||Art Exhibits|
Opening Reception for Philippe Rahm Thursday, March 29 | 6–9pm SFAI—Chesnut Campus | Walter and McBean Galleries Please join us in celebration of Philippe Rahm: The Anthropocene Style at the Walter and McBean Galleries at San Francisco Art Institute’s Chestnut campus. Swiss architect Philippe Rahm is known internationally for groundbreaking work at the intersection of climate, architecture, and physiological space. Rahm’s newly commissioned exhibition for San Francisco Art Institute embraces the urgency of climate change to propose a roadmap for a field eager to adapt to and mitigate our changing climate. In Spring 2018, SFAI’s galleries will become a testing ground for Rahm’s experimental new interior design ‘fabrics:’ emissive tapestries, effusive carpeting, and spectral light, all of which will be calibrated to interact with human body heat depending on external temperatures. The exhibition centers on a series of spatial and physiological audience experiences involving prototypes of tapestries, carpets, and other materials. Designed to shift the audience’s perception, the exhibition will also include didactic materials in the form of publications and lectures by the architect (video recordings of which which will be projected in the galleries). EXHIBITION CREDIT AND PARTNERSHIP Philippe Rahm: The Anthropocene Style is curated by Hesse McGraw, former Vice President for Exhibitions and Public Programs at SFAI, and current Principal of el dorado inc, and organized with Phillippe Rahm, Katie Hood Morgan, SFAI Curator of Exhibitions and Public Programs, and Robin Beard, SFAI Chief Preparator. The exhibition is co-presented with swissnex San Francisco and supported by Pro Helvetia, Swiss Arts Council. Philippe Rahm: The Anthropocene Style is supported by Etant Donnés Contemporary Art, a program of FACE Foundation, developed in partnership with the Cultural Services of the French Embassy in the United States, with lead funding from the Florence Gould Foundation, the Helen Frankenthaler Foundation, the French Ministry of Culture and Institut Français-Paris. The exhibition at SFAI coincides with a related version presented during del Salone del Mobile 2018 in Milan, Italy, organized by the Swiss Institute in Rome. In 2018, the publisher Lars Müller will publish a book surveying Rahm’s work over the past decade, including the exhibitions in San Francisco and Milan. SPONSORS AND CREDITS SFAI’s Exhibitions and Public Programs are made possible by the generosity of donors and sponsors. Program support is provided by the Harker Fund of The San Francisco Foundation, Grants for the Arts, Institute of Museums and Library Services, National Endowment for the Arts, Creative Work Fund, Elizabeth Firestone Graham Foundation, The Robert Lehman Foundation, and Fort Point Beer Company. Ongoing support is provided by the McBean Distinguished Lecture and Residency Fund, The Buck Fund, and the Visiting Artists Fund of the SFAI Endowment.
Category: Art Exhibits 3 id: 14508
Ever Gold [Projects] is pleased to present Everyday Myth: Survival and Sustenance, an exhibition of new sculptures and works on paper by Serge Attukwei Clottey. Serge Attukwei Clottey lives and works in Accra, Ghana’s capital city. His work is concerned and engaged with the condition of the local environment—socially, environmentally, and politically. Clottey’s studio provides work for a group of collaborators known as GoLokal—initially a small group, now with approximately 100 people involved. In addition to Clottey’s own studio practice, he and GoLokal produce public artworks and performances, with the performances often functioning as political/environmentalist gestures and statements. A signature material for Clottey is plastic cut from bright yellow water containers known as Kufuor gallons. In the early 2000s, these containers were filled with water and distributed by an order from then-president John Kufour in response to massive drought throughout Ghana. Today the gallons are a prominent form of litter, and Clottey—among others—believes they were not particularly safe vessels for drinking water to begin with. Clottey buys the containers back from members of the local community, cutting them into rough squares and wiring them together into wall hanging sculptures. The sculptures often include components pulled from the sea—The Displaced, a 2015 film documenting a performance by Clottey, demonstrates the surreal and disturbing amount of discarded plastics, electronics, and other forms of debris in Ghana’s coastal waters—and painted additions as well. Clottey cuts the top of the containers off to produce a kind of mask-like form that he uses sculpturally in place of traditional (and famously appropriated) African masks, referring to the form as “a mask for our time.” A new series of bronze sculptures replicates these plastic forms in bronze. A new series of charcoal drawings plays on the history of cultural exchange between Africa and the West, as does much of Clottey’s work. Captivated by the work of Picasso while enrolled in art school, Clottey presents drawings that seem to pull from the format and treatment of works from Picasso’s African Period, inserting the top part of the plastic containers in place of Picasso’s mask-like faces. The three different bodies of work presented in Everyday Myth: Survival and Sustenance raise a range of questions about the influence of the West on Africa and Africa on the West, as well as about the reality of these relationships. In political, environmental, and art historical contexts, it is arguable that these relationships are romanticized, polarized, and otherwise strategically manipulated in ways that complicate our understanding of these relationships and the realities of the people who feel the results of these myths most concretely. Serge Attukwei Clottey lives and works in Accra, Ghana. Clottey attended the Ghanatta College of Art and Design in Ghana before studying at the Escola Guinard University of Art in Brazil and has completed multiple fellowships abroad. He currently works in a variety of media including performance, photography, video, painting, drawing, and sculpture. Recent exhibitions include Differences between at Jane Lombard Gallery (New York, 2018) The Displaced at Gallery 1957 at Lawrie Shabibi Gallery (Dubai, 2018); Hand to Mouth at Ever Gold [Projects] (San Francisco, 2016); My Mother’s Wardrobe at Gallery 1957 (Ghana, 2016); Earthly Conversations at GNYP Gallery (Berlin, 2016); The Displaced at Feuer/Mesler (New York, 2015), We Don’t Contemporary at Kampnagel Hamburg (Hamburg, 2015); The Silence of Ordinary Things at The Mistake Room (Los Angeles, 2015); Du Bois In Our Time II at the University Museum of Contemporary Art (Amherst, MA, 2014); and Cultures in Confluence at the Goethe-Institut Ghana (Accra, 2011). His work is in the collection of the Nerman Museum of Contemporary Art (Overland Park, Kansas) as well as a number of international private collections.
Category: Art Exhibits 3 id: 14503