|International House Of Cozy|
|↑↑↑↑ NEW ↑↑↑↑||Stock Images Of War|
|Last updated - 20th AUG 2015|
|Savings & Shelves|
20 August 2015
September Issue ART REVIEW
Featured in the upcoming Art Review September Issue with an interview by Erik Morse. This is a link to the issue but you might have to be suscribed to see it. I'm not suscribed, I can't see it. I'd recommend to wait to see the print edition :-)
20 August 2015
Central Saint Martins Magazine
I was interviewed by Alysha Lee for the Central Saint Martins School of Art magazine. My dislike for the school is slightly sugarcoated but I'm still happy with the review of IHOC.
To read it click HERE
14 August 2015
Utah Museum Of Contemporary Art
UMOCA presents STOCK IMAGES OF WAR by Amalia Ulman
AUG 14 – OCT 31
Salt Lake City, UT – The Utah Museum of Contemporary Art (UMOCA) is thrilled to present Stock Images of War, the first solo museum exhibition by artist Amalia Ulman. In Stock Images of War, Ulman blends pleasure and discomfort as she explores themes of confinement, fragility, and pain. Ulman presents delicate wire sculptures, crafted into familiar shapes—such as bicycles, wheelchairs, and tanks—but then rests these figures against an eerie backdrop of rock music and the scent of baked apple pie.
Click here for more info
14 August 2015
The Extreme Present - Los Angeles
ForYourArt & the City of West Hollywood present
Shumon Basar, Douglas Coupland, and Hans Ulrich Obrist with guests including Miranda July and David Lynch plus Patrick Belaga and Amalia Ulman
West Hollywood City Council Chambers
What is this body that we inherit
I fell down
Numbed, staring at the ceiling
I think of good mothers carrying heavy bags
The glass box
Teach me how to feel again
My sister’s parents bought a
I need to pee
Your pull out game ain’t goof enuf
Together we need:
I woke up tonight
The installation presented in Basel Statements (with James Fuentes, on the 17th June) takes as main inspiration the sense of unease certain spaces provoke on human bodies. The airport bench with armrests, the long waits.
This booth combines various feelings of discomfort mixed with sensations of faux well-being that come with the bodily adaptation to hostile environments disguised as friendly.
The benches in the installation is upholstered to the extreme, to the point of it becoming painful by the use of cute handbags, spiky Swarovski crystals, glitter and mirrors. The motivational decals on the topic of motherhood bring up bodily urges, feelings of guilt, responsibilities. Body clocks: biological and cultural.What does this body mean and what are the duties attached to it. Civilian beauty, caring for others: cultural expectations.
The whole set decorates physical pain with pretty stickers and nice little things, making the booth feel like the cage bodies sometimes are.
✔ Send me an email !
✔ iOS Photo Album in Facebook
More press here
Group Shows & Fairs & Talks
15 June 2015
LISTE with ARCADIA_MISSA
1 May 2015
Gentle Deception (Topical Cream)
Amalia Ulman operates almost like a kid sneaking out of her parents’ house at midnight, leaving a bundle of pillows under her comforter. There is almost always a bait and switch and things are rarely as they seem. This gentle deception was at the center of her much-talked-about Instagram-based performance project, Excellences & Perfections, and continues in her new short film, International House of Cozy
Click here to read it
12 May 2015
My first public sculpture
Next Sunday is the official opening of Sculpturen Park in Cologne (Germany). This is my first public suclpture and a replica of one of the wheelchairs in Stock Images Of War, which were originally ideated to be placed in roundabouts anyway :-) So it makes me very happy that I was approached for this.
27 May 2015
International House Of Cozy
On May 15, the first solo exhibition in the Netherlands of Amalia Ulman (1989 AR) opens at Showroom MAMA. ‘International House of Cozy’ includes a pornographic film especially produced for MAMA in which she takes her research into the boundaries of authenticity and consumerism to its extreme.
"So we've all become tourists and that's why our office is Starbucks."
In a world where life has become a commodity, Ulman takes the additional step to expose the obscenities of contemporary marketing. For the film she made for MAMA, she adapted an existing hipster infomertial, re-wrote the script and asked porn actors to perform it.
IHOC uses porn as a tool to legitimize a visual aesthetic while transforming it into a categorized fetish. In this case it'd be hipster culture as image void of meaning: as the commercial corporate beast it has become.
Amalia didn't use porn as a means to make the video seem shocking or more edgy, quite the opposite. To bring this aesthetic, those conversations, that sort of video editing, color palette, corporate ukulele music, retro logos and indie fonts into the realm of the pornographic, is to normalize it, to finally consider it mainstream and therefore corporate. This comes from an interest in the idea of the invisible, of the template. The things we are no longer able to see.
It all goes down to class, aesthetics and the thin line that separates good and bad taste. This pornographic video elevates and corrupts the original version of the hipster advertisement previously mentioned, through exaggeration, into a grotesque caricature of itself.
After watching IHOC once, our eyes get readjusted, or perception refurbished and everything, in a way, becomes bad taste: hierarchies temporarily destroyed.
31 January, 2015
3D Virtual Tour
Photo documentation and virtual tour are up, go to stockimagesofwar.amaliaulman.eu
Also there was a note on artsy about it click here to read it.
22 December, 2014
Stock Images Of War
Stock Images Of War is a solo exhibition by Amalia Ulman about our lack of empathy, how we torture each other and how war is adulthoods’ favorite game.
My confinement is the victory of the skyscrapers over my bones.
In a global community of emotions, war is gossip, torture is a parallel act of deconstruction and images serve the function of heavy artillery.
Cherry Picker, Sherwood Forest, Pink Rose, Night Blossoms
Becoming a log: logging in, logging out.
When narcissism becomes a stratagem we need mirrors to learn our poses, to attract and seduce like England does with a third world country.
Being more specific, what is it that you will see at Stock Images of War. In the dark, only illuminated by spotlights, a series of augmented wire figures produced during confinement will weakly find their place in the empty room, constantly fighting to stand their ground, maybe hesitating between standing and laying down. And all of this happens in the midst of a nauseating smell of Apple Cinnamon Medley, of someone cooking apple strudel in factory quantities, of someone cooking and dancing to teenage hits, to easy political songs, because only in a state of neoteny it is possible to believe in the fantasy of the dehumanized other, the other as cake.
We don't need no water let the motherfucker burn,
Burn motherfucker burn.
You can watch the video trailer here
30 December 2014
NY TIMES - Satan etc.
Very disappointed with this note written by Christopher Glazek for the NY Times, on three different levels. Firstly because it keeps on exploiting the accident for juicy sensationalistic reasons, secondly because I only sold work to Stefan twice (therefore I don’t think I should be opening the note), finally, because it takes out of context what I said about these paintings, from Savings & Shelves, a show that I was always very fond of.
It reads as if I didn’t care about these works when, the truth is that the reason for not being attached to the materiality of them, responds to the fact of the show being designed for the sake of its own documentation. The exhibition in itself didn’t last more than one weekend and the idea was for the photographs and the panorama environment to overshadow the physical immersive experience, because, although it did work very well IRL, Headquarters, the project space run by Adam Cruces, was inside a corporate building surrounded by the snow during a cold winter in Zurich.
More people was going to see it online than in person, obviously. That was the point of everything I was doing at the time.
I did change my modus operandi a while ago, when I started paying as much attention to the lived experience of my exhibitions (with sound, smell and other mind tricks) as to the online documentation, sometimes even neglecting the latter.
Every single artwork is conceived in a different way, and it is upsetting to read my words taken out of context, taking for granted that certain detachment was only derived by lack of prospects instead of taking into consideration the actual reason, which is that these works were meant to be destroyed after being photographed.
11 December 2014
Perpetual Provisional Selves
"I think I want to talk about the sort of narcissism that makes it hard for me to conduct interviews, and what that has to do with performing the self on social media—an endless interview with no interviewers and competing interviewees projecting the questions they want to answer onto an audience that may already be largely preoccupied with questions they were wishing to be asked."
Rob horning and I worked on a text for Rhizome in an attempt to contextualise Excellences & Perfections, you can read it here: Perpetual Provisional Selves
7 November 2014
Social Anxiety - The Fader
Emilie Friedlander writes a note about Excellences & Perfections for The Fader - CLICK HERE
"It's extremely tempting to show my friends back at home the uncharacteristically glamorous turn my life has taken in the past 24 hours—I was flown in from New York to report on a festival that's happening here—but I'm not sure if I'm going to go through with it. I wouldn't be the only person on my feed who's posted a photo of hanging out on the rooftop at the Ace Hotel while most everybody else I know is stuck at home, grinding away in cold and rainy New York."
8 November 2014
The Destruction Of Experience
The website for The Destruction of Experience is finally up:
And there is some press worth checking out in:
✔ Dis Magazine - CLICK HERE
Destruction of Experience is an immersive installation which calls upon the sterile hygiene of a doctor’s waiting room, or perhaps the soft-spoken politeness of an office lobby. Ulman speaks this bland language as a way to perform critique. She teases the relationship between corporate identity, consumerism and beauty through subtly altered replications: motivational boards, customized office calendars and room odorizers. These are embedded with a profound personal as well as cultural anxiety, an anxiety of beauty standards and ‘success’ in a time of extreme socializing individualism.
✔ Opening Ceremony - CLICK HERE
For her latest show, it’s an immersive installation enveloping sound, scent, sculpture, and delicate wall-based works that offer a techno-social mediation on time, body clocks, and the body as a perishable asset.
5 November 2014
The Future Ahead
"As the powerful figure he was created to become, he has the supreme authority to perpetuate stereotypes as much as to create trends that are to be followed by teenagers from all over the world. Justin Bieber is part of the universal audiovisual masturbatory mechanism. He slowly tried to escape from his feminine role as a keeper of orgasmic force and within the “penetrable-penetrating” binomial, Justin has chosen to be a penetrator." WATCH HERE
Hope you like it ( ͡° ͜ʖ ͡°)
Remember that you can read the PDF here - READ THE FUTURE AHEAD
30 October 2014
i-D Mag - Excellences & Perfections
Dean Kissick wrote a note about my work for i-D Magazine, you can read it HERE
"All sorts of things happen in accidents. After his car crashed into a ditch on the outskirts of Milan in 1909 Italian poet Filippo Tommaso Marinetti wrote the Futurist Manifesto. Frida Kahlo was never the same after she was almost killed in a bus collision in downtown Mexico City in 1925 aged only 18. And after he wrote off his Lexus on the highway leading to the W Hotel in Los Angeles in 2002, Kanye West went into the studio with his mouth wired shut and recorded a song that would change his career forever."
17 October 2014
ICA OFFSITE - Do you follow?
"But, what about our bodies? Bodies can crumble, perish, disappoint us, promote us. Bodies represent who we are, what our history is, where do we come from.
We can’t scape our bodies.
Bodies are suitcases for our consciousness but “who’s this suitcase by?” “What label?” “Which designer”. It could be a Mulberry, or a Kelly, or a Vuitton, or a Vans backpack, or a Tesco plastic bag, or a Zara tote."
Michael Connor (Rhizome) put together a talk during Frieze London where I was speaking next to the brilliant Hannah Black and Derica Shields.
You can watch the video here - Art in Circulation Livestream
30 August 2014
"I guess that If I’m cooking quinoa, I could make some extra for him, for the baby.
If I’m making a coffee… well if I’m making a coffee I could make something like, baby friendly, like milk or whatever babies drink
Then, I don’t know, when I work from home… A baby could be there? That’s fine, in the background, that’d be fine.
I mean I’m basically just doing crafts, and thats like kindergarden stuff"
Babyfootprints Crowsfeet is a solo show that took place @ Ellis King (Dublin)
✔ Watch video trailer
✔ Check the documentation out!
Previous diary entries here
|Buyer Walker Rover - Video Essay|
|Salon - 89Plus - On Branding - Miami Basel '14|
|The Destruction Of Experience - Virtual Tour|
|Delicious Works @ Smart Objects (trailer)|
|Used & New @ ltd Los Angeles (trailer)|