Some will hate it. Some will love it. Many will be confused. More to the point, it’s creepy AF! But “The Theater of Disappearance,” a recently opened exhibition by the Argentine artist Adrian Villar-Rojas at the MoCA Geffen Contemporary in Los Angeles, is a stunning, ambitious, intriguing and unsettling show on a massive scale and must be seen. Or rather, it must be experienced. The exhibition amounts to a giant art installation of geological and human cultural artifacts presented in some post-human future. Villar-Rojas presents stark vision of humankind’s legacy that is fascinating and terrifying.
The artwork of Australian-Iraqi artist Toba Khedoori leaves a distinct impression. Her works are primarily finely detailed, photo-realistic pencil drawings in monochromatic lead or color on massive sheets of waxed paper. The drawings tend to be focused on discrete, single objects set in a vast emptiness — a chair, a fence, a door — or a piece removed from its larger architectural context — rows and rows of seats from a theater or, as in the example pictured here, a fireplace. It’s one of a series of drawings of fireplaces currently on view as part of her solo show at LACMA in Los Angeles. The drawing has a trompe l’oeil quality but has none of the cheap gimmickry of that anachronistic decorative conceit. Looking at the drawing from afar, it appears as if there’s an actual fireplace recessed into the gallery wall.
We recently visited the South Beach, Miami studios of artist-designer Laz Ojalde and took pictures of the space and his work, which includes these lights and objet. Ojalde runs a separate design studio called LMNOQ and has developed an aesthetic around sustainable, minimalist furniture design and art pieces. Super dope stuff.
Photos of “Untitled” red amaca by influential German artist Rosemarie Trockel at the Sprueth Magers gallery space at the recent 2013 Armory Show in New York City. We’re a fan of her work in general, though we’re not so enthralled by this artwork as much as we are by its color. But we do like it more than an a close art critic friend of ours who quipped apathetically that the piece “it would look cool as rug in our living room.”