dallas contemporary

Dallas Contemporary
photo: Dallas Contemporary.

Neiman Marcus (29 March - 15 April 2012)
Dallas Art Fair (12-15 April 2012)
Goss-Michael Foundation (13 April - August 2012)
Dallas Contemporary (13 April - 19 August 2012)
Design District area (April 2012)
Oliver Francis Gallery (April 2012)

Claude Lévêque, Chant (Song), installation view at Dallas Contemporary
photo: Dallas Contemporary

Claude Lévêque, Le Droit du Plus Fort, installation view at Dallas Contemporary
photo: Dallas Contemporary

SYLVIE FLEURY
Neiman Marcus, flagship store
1618 Main Street, Dallas

Through 15 April

Installations immerse the viewers in the world of luxury and fashion while highlighting contemporary plexus of culture, art and commercial products. Fleury's installations in the Neiman Marcus windows blur the frontier between commercial display and art installation bringing sharp contrast between opposite elements.

Special thanks: Laura Lee Clark, Dallas; Mineral Hunters, Dallas; Bill Watson, Signs Manufacturing, Dallas; 2G Art Services, Dallas; Jim Pederson and Julie Cronick, Neiman Marcus, Dallas; Dallas Art Fair, Dallas. Diego Sanchez, Kathryn Little, Gayle Collier.

Sylvie Fleury, installation inside Neiman Marcus windows, Downtown Dallas.
photo: Kevin Todora

ERWIN WURM Beauty Business

13 April 2012 - 18 August 2012

Erwin Wurm, Beauty Business, installation view at Dallas Contemporary
photo: Dallas Contemporary

DAVID JABLONOWSKI Many to Many (Stone Carving High Performance)

17 December 2011 - 18 March 2012

Español/Hide

David Jablonowski, Many to Many (Stone Carving High Performance), installation view
photo: Kevin Todora

SHEPARD FAIREY Citywide Street Project

4 February 2012

Shepard Fairey, 2012

ROB PRUITT

17 December 2011 - 18 March 2012

Español/Hide

Rob Pruitt, interview by Dallas Contemporary

Rob Pruitt, Fountain (Perrier), installation view at Dallas Contemporary
photo: Kevin Todora

Rob Pruitt, Untitled, 2010
Courtesy Gavin Brown's enterprise, New York.

Pop Touched Me, The Art of Rob Pruitt, Abrams, New York, 2010 pp 104-105
Photo: Dallas Contemporary

FAILURE

Saturday 17 December 2011 - 18 March 2012

Failure
Courtesy the artist

Failure, installation view at Dallas Contemporary
Photo: Dallas Contemporary

JASON BROOKS tattoo catwalk

Saturday 24 September 22.00 (10.00 pm) - evening event

Jason Brooks catwalk performance at Dallas Contemporary
photo: Andrew Ryan Shepherd

JENNIFER RUBELL Nutcrackers

25 September - 4 December 2011

Jennifer Rubell, Nutcrackers, installation view Dallas Contemporary
photo: Andrew Ryan Shepherd

AARON PARAZETTE North Swell

25 September - 4 December 2011

Aaron Parazette, North Swell, installation view Dallas Contemporary
photo: Kevin Todora

SURASI KUSOLWONG Peek! performance

12 May 2011

Surasi Kusolwong Performance
photo: John Durbin

Surasi Kusolwong
photo: John Durbin

Surasi Kusolwong Performance
photo: John Durbin

JUERGEN TELLER Man with Banana

8 April - 21 August 2011

Juergen Teller, Lara in Kiev, 2008, Courtesy Lehmann Maupin Gallery, New York.
photo: Sergey Ilin.

Juergen Teller, Man With Banana, installation view Dallas Contemporary
photo: Kevin Todora

Juergen Teller, Man with Banana
Courtesy Lehmann Maupin Gallery, New York.

Juergen Teller (installation view)
Courtesy Lehmann Maupin Gallery, New York.

EZRA PETRONIO: Bold & Beautiful

8 April - 21 August 2011

photographs by Ezra Petronio.

Ezra Petronio, Jerry Hall

Ezra Petronio, Tom Ford

Ezra Petronio, Rose McGowan

ENTREVISTA

Peter Doroshenko: Me gustó mucho su obra de video nueva, Turning Circles, en la Galería de Anton Kern; cambió mucho el espacio.

Marcel Odenbach: Fue una proyección grande en la galería. El video es parecido al estilo de un documentario. Trata solamente de un edificio, así que menciona la arquitectura y los monumentos. El edificio como monumento hace un resumen de las víctimas de la Segunda Guerra Mundial. Lo que me interesa es que las diferentes sociedades usan los mismos hechos para su pensamiento ideológico. Se enfoca en la arquitectura y lo que ella podría significar.

PD: Entonces, ¿es una continuación natural de otra obra reciente?

MO: La obra reciente es una evolución que viene de ideas que tenía yo durante los años 80... Hay un diálogo que escribí para la obra, lo que no he hecho desde hace mucho tiempo. Es analítico, y usa la forma documental, pero, por su puesto, es completamente falso. También siempre estoy creando un collage distinto, incorporando metraje en mis propios rodajes.

PD: ¿Figura el espacio de la exposición entre la creación del video?

MO: Hay una cierta manera de mostrar el video. Por ejemplo, nunca presentaría esta obra en una televisión de pantalla plana pequeña porque tiene que ser monumental. El tamaño y el sonido son muy importantes. El sonido fue compuesto específicamente para la obra, y el espacio de la exposición tenía que ser muy grande para crear eco. Pero, muchas veces mientras creo obras nuevas para una exposición o un lugar, el espacio o el sitio del espacio tiene mucha influencia en la obra.

PD: ¿Es el asunto principal la arquitectura?

MO: Siempre me intereso en temas personales... aunque mi obra tuviera matices políticos o sociales, siempre volvería a lo personal, como la memoria de la arquitectura, ya que tengo cierto pasado Alemán. También tengo una impresión distintiva que viene de los miembros de mi familia, quienes eran judíos - muy personal, y encima, estudié arquitectura. Nunca asistí a una escuela especializada en arte. Hice planes de ser arquitecto. Así que, la arquitectura siempre contribuye a mi pensamiento.

English/Hide

INTERVIEW

Peter Doroshenko: I really enjoyed your new video work, Turning Circles, at the Anton Kern Gallery, it really changed the space.

Marcel Odenbach: It was one large video projection in the gallery. The video is similar to a documentary. It's about one building, and so it touches upon architecture and monuments. The building as monument, summarizes the victims of the Second World War. What is interesting for me is that different societies are using the same facts for their ideological thinking. It's focused on architecture and what architecture can mean.

PD: So, a natural continuation of other recent work?

MO: The recent work is a progression from certain ideas I had from the 1980s….there is a dialogue that I wrote for the work. Which I have not done for a long time. It's analytic and uses the form of the document, but of course it's completely fake. I am also always creating collages, combining film footage into my own shootings.

PD: Does the exhibition space play into the making of the video?

MO: There is a certain way of showing the work. For example, I would never present this piece on a flat screen, because it has to be very monumental. The size and sound are very important. The sound was composed specifically for the work, and the exhibition space had to be large to create an echo. Yet, many times I am making new works for an exhibition or a space, the space or the location of the space have a large influence on the work.

PD: Architecture is the core issue?

MO: I am always interested in personal issues…even if my work has slight overtones of political or social meaning, it always comes back to the personal. Such as the memory of architecture - since I have a certain history as a German. Also, I have a reflection about my family, who were Jews - very personal, and on top of all of that, I studied architecture. I never went to an art program. I was planning to be an architect. So, architecture always plays a big part of my thinking.

Cassandra Porter, Dallas Contemporary, development manager
photo: Rachel Cox

Patricia Stewart-Gordon, Dallas Contemporary, financial administrator
photo: Rachel Cox

Florence Ostende, Dallas Contemporary, adjunct curator
photo: Alex Curington

Clare Chadwick, Dallas Contemporary, development assistant
photo: Rachel Cox