Please join us on April 30 at 5pm, for the last Artist Talk of the season, by Cudelice Brazelon IV! Cudelice Brazelton IV (b.1991, Dallas, Texas, USA), lives in Frankfurt, Germany. American artist Cudelice Brazelton IV joined the Ateliers team of permanent tutors in 2022. His practice encompasses site-specific painting, collage, sound, assemblage sculpture, and spatial interventions. Brazelton creates a kind of alternate Americana that recalls the glimmer of asphalt and the raw edges of post-industrial urban life. Dark humor is a recurring element. Cudelice Brazelton IV attended the Skowhegan School of Painting and Sculpture and studied at Städelschule, Frankfurt. He had solo exhibitions at Lodos (Mexico City, 2023), Murmurs (Los Angeles, 2022), Cell Project Space (London, 2022), Galerie Barbara Weiss (Berlin, 2021), Sans Titre (Paris, 2021), International Waters (New York, 2020), Ola Bunker (Frankfurt, 2020), Shoot the Lobster (New York, 2019) and Husslehof (Frankfurt, 2019). He participated in numerous exhibitions, including the Kunsthalle Düsseldorf (2023), Freiburg Biennial (2023), Swiss Institute (New York, 2022) and Kunstverein Wiesbaden (2021). He is recipient of the Lingener Kunstpreis 2024. The artist is represented by Galeria Wschód (Warsaw). Language is English, tickets are €5 and available through the link in our bio. Talks start at 5pm sharp so please be on time! 📸 No Exchange (of…), detail, 2023 Courtesy of the artist , Kunsthalle Düsseldorf, Katja Illner #ArtistTalk #DeAteliers #CudeliceBrazeltonIV
@ll_ajju_bhai_.ll #hum Apne andaj me mast he🎭 #newpost #cudelicebrazeltoniv
#CudeliceBrazeltonIV - Turn 2, 2020 acrylic, synthethic leather, magnet, foam, aluminium, vinyl on canvas 56 x 67 cm.jpg
Congratulations to Cudelice Brazelton IV @cudelice__ on winning Lingener Kunstpreis 2024 ! The artist will present his institutional solo exhibition in June 2024 at Kunsthalle Lingen @kunsthallelingen followed by a publication project. Pictured: Cudelice Brazelton IV Auto Picture, 2022 Acrylic, inkjet print, plastic, paper clip, wood on linen 146 x 140 cm; 57 1/2 x 55 1/8 in Cudelice Brazelton IV Sign, 2023 Acrylic, inkjet print on oilskin canvas 130 x 170 cm; 51 1/8 x 66 7/8 in #cudelicebrazeltoniv #kunsthallelingen #wschodgallery
SCHMIDT-ROTTLUFF-STIPENDIUM🏅 'Karl Schmidt-Rottluff-Stipendium. Die Ausstellung 2023' w/ Matej Bosnić, Cudelice Brazelton IV, Nicolas Fehr, Daniel Hopp, Ava Irandoost, Ida Kammerloch, Larissa Rosa Lackner, Vera Palme, Julia Phillips, Andrėja Šaltytė, Silke Schönfeld ⏳ bis 25. Feb! 📍 @kunsthalleduesseldorf ‚Seit 1989 zeigt die Kunsthalle Düsseldorf alle vier Jahre in Kooperation mit der Studienstiftung des deutschen Volkes die Preisträger*innen-Ausstellung zum 1975 begründeten Karl Schmidt-Rottluff-Stipendium. Die von Schmidt-Rottluff gegründete Förderungsstiftung vergibt zweijährige postgraduale Stipendien für herausragende künstlerische Leistungen. In der Kunsthalle präsentieren die letzten zwei Jahrgänge ihre während der Laufzeit des Stipendiums erarbeiteten Werke.‘ #matejbosnic #cudelicebrazeltoniv #nicolasfehr #danielhopp #avairandoost #idakammerloch #larissarosalackner #verapalme #juliaphillips #andrejasaltyte #silkeschönfeld #karlschmidtrottluff #stipendium #kunsthalledüsseldorf #artjunk #artjunkweekly
Cudelice Brazelton IV @cudelice__ as part of Storefront for Art and Architecture’s @storefrontnyc third episode of 'On the Ground Broadcasts' with Montez Press Radio @montezpressradio airing today, Thursday, December 7. at 7 pm (EST Time) The artist is discussing his latest show at Wschód New York, general practice, and more, with art writer, critic, Frieze Senior Editor, Terence Trouillot @t_b_t […] Focusing on the distinction between skin and flesh, Brazelton explores afterimages of a form hidden through the crevices of urban environments. Devices constructed of thread, sheet metal, and paper suggest malfunctioned site specific objects. Electrical charges are simulated through magnetism, silver, and glossy painted paper that ornaments the architecture of a given space. Once uninstalled, these mechanical assemblage works burst or shatter, awaiting to be repaired again in a new location, or made into a new model altogether. The signaling of new possibilities and model making are made possible through the use of accessible and discarded detritus that can travel along with the artist to a mobile world. A world enough for a figure. #cudelicebrazelton #cudelicebrazeltoniv #terencetrouillot #storefrontforartandarchitecture #wschodgallerynyc #wschodgallery
Cudelice Brazelton IV at Wschód; ‘Some Resonance’ closed today, December 2, 2023 #cudelicebrazelton #cudelicebrazeltoniv
Cudelice Brazelton IV at Wschód @wschodgallery @byscudelice_ #wschód #cudelicebrazeltoniv
Brazelton’s artistry transcends the aesthetic realm; he emerges as both a machinist and a stylist, wielding tools of correction and deconstruction within the intimate confines of a former tailor shop. The artist allows the material’s symbolic and physical qualities to expand in space. In this unique terrain, the boundaries between the cosmetic, the forensic, and the industrial fade. The faulty lines and markings on the materials mirror our own journeys of self-modification. Brazelton’s art resonates with the viewer’s inner dialogue, provoking meditation on the curious interplay of identity, personal narrative, and the ceaseless desire to express one’s difference. […] Visit us this week, Wedesnday - Saturday 1-6 pm, at 136 Orchard St to see the solo show 'Some Resonance'! Pictured: Left: Cudelice Brazelton IV Scuffed, 2023 acrylic on canvas 84 x 52 inch Right: Cudelice Brazelton IV Stride,2023 acrylic and graphite on canvas 29.5 x 24 inch @cudelice__ #cudelicebrazeltoniv #wschodgallerynyc #wschodgallery
Cudelice Brazelton IV (b. 1991, USA) implicates the viewer in a landscape full of remnants of bizarre tools and objects. The materials the artist employs have very specific meanings embedded in them. The viewers’ minds begin a play of association triggered by the fleshiness of the gestures that surround us. The space holds Some Resonance: the materials seem familiar yet distorted, modified but not transformed beyond the loss of what was once there. This characteristic is key to Brazelton’s practice. He is interested in the rela- tionship between cosmetic imagery and hardware and in the processes of modification that mark both these realms. This concern is not only echoed by the subjects of Brazelton’s works but also by his gestures […] The exhibtion 'Some Resonance' by Cudelice Brazelton IV @cudelice__ is opened at our New York outpost, 136 Orchard Street, until December 2, 2023. Visit us Wednesday - Saturday, 1-6 pm. Pictured: Cudelice Brazelton IV Remover, 2023 acrylic, polyester felt, wood, hair clipper 48 x 66 x 40 inch #cudelicebrazeltoniv #wschodnyc
Última oportunidad de ver la primera exposición individual de Cudelice Brazelton IV en México. ‘Scurried’ cierra esté sábado 28 de octubre. @cudelice__ #cudelicebrazeltoniv
It’s the last week to see Cudelice Brazelton IV’s ‘Scurried’. On view until October 28th. Cudelice Brazelton IV, Harsh Instruction, 2023 Acrylic, medium, metal, inkjet print on canvas 40 x 34 cm (15 ³/₄ x 13 ²⁵/₆₄ in) - The three works Crossroad Metaphor, Harsh Instruction, and Suited Approach are sequenced painting collages. They are rough with raised surfaces and cut into to reveal reflections underneath the frame. A pair of eyes show in the reflection, followed by a sloppy message in green paint, and a reconstructed uniform. The paintings act as dark pavement for Brazelton, as stock images of Black chauffeurs reflect and extrude from them. Like gestures, they animate the highly textured paintings in the context of the urban block drop off. - @cudelice__ #cudelicebrazeltoniv
We are extremely happy to cordially invite you to the inaugural exhibition by Cudelice Brazelton IV @cudelice__ in our New York experimental outpost on 136 Orchard Street, on Friday, October 27, 4-8 pm! Cudelice Brazelton IV Some Resonance October 27 - December 2, 2023 Opening: Friday, October 27, 4-8 pm WSCHÓD, New York 136 Orchard Street, 10002, New York, NY The exhibition Some Resonance incorporates a mixed media of installation and collage practices by Cudelice Brazelton IV. With surface and material in mind, paintings point to draping fabric sculpture with carved walls. Activation and crafty cutouts abound. These gestures among others are signatures of Brazelton’s work, as the interest in the self made tradesman. Referencing ideas of a stylist or machinist, in this case inside a former tailor shop. The artist as an actor claims something in terms of exploring a medium; hopefully forming a handling of some kind. This manipulation allows for an odd technical shop to emerge. Pictured: Cudelice Brazelton IV Stride, 2023 Acrylic and graphite on canvas 75 x 61.5 cm #cudelicebrazeltoniv #wschodnyc #wschodgallerynyc
In Cudelice Brazelton IV’s ‘Scurried’, Bumpkin, a painting raised above the gallery with a block of foam squeezed by a tattered belt resting on top like a head, overlooks the space. The caricature aspect is reinforced by a tucked in black strip that drapes down to a black spool; bringing forth a dark playfulness while dealing with formal aspects of abstraction and figuration. Cudelice Brazelton, Bumpkin, 2023 Acrylic, foam, marble, belt, snap dome reel on linen 85 x 210 cm The exhibition continues through October 28th. @cudelice__ #cudelicebrazeltoniv
#VisitaLasGalerias Scurried Cudelice Brazelton IV @lodosgallery Lodos se complace en presentar Scurried, una nueva exposición de Cudelice Brazelton IV. La exposición incorpora materiales de pintura, instalación y vídeo para formar y responder como un sistema ensamblado de narrativa y puesta en escena. Hasta 28.10.2023 . Conoce más de GAMA - galerias de arte mexicanas asociadas- en gamamx.art. . #ArteCDMX #ArteContemporaneo #contemporaryartist #cudelicebrazeltoniv #lodosgallery #galerialodos #ContemporaryArt #artexhibit #exposiondearte #artexposition #artgalleries #galeriasmexicanas #galeriasdearte
Cudelice Brazelton’s ‘Work Sample’ is split within the gallery as an object and a video work. The CD case hanging on the wall fragments the figure through its shape as a pair of denim jeans. Holding inside of it is a disc of which content is the video playing in the gallery. Recorded by artist Mahmoud Tarek, Work Sample is an experimental video tutorial of Brazelton’s ongoing burning practice. A conversation between Tarek and Brazelton can be heard over video footage of a burned denim transfer of a haircut on a wall. The hole in the wall acts as the slot for the video and a direct focal point for the barbershop image to the storefront. Cudelice Brazelton, Work Sample, 2023 Metal, CD case, inkjet print, disc, video 00:15:00 min 30 x 30 x 5 cm @cudelice__ #cudelicebrazeltoniv
Images of Cudelice Brazelton IV’s exhibition ‘Scurried’ are now online. The exhibition is on view through October 28th. Link in bio. #cudelicebrazeltoniv @cudelice__
Esta semana, durante GAMA Week, podrás visitar la exposición ‘Scurried’ de Cudelice Brazelton IV con horarios extendidos. La exposición incorpora materiales de pintura, instalación y vídeo para formar y responder como un sistema ensamblado de narrativa y puesta en escena. Del 21 al 23 de septiembre, Lodos permanecerá abierta con horarios extendidos. Jueves-Sábado: 11-7pm @gamamx.art #gamaweek2023 @cudelice__ #cudelicebrazeltoniv
Cudelice Brazelton IV Scurried Now on view! September 7 - October 28, 2023 - Horarios / Visiting hours: mie-jue/ wed-thur: 11am-2pm, 3-6pm vie/ fri: 11am-3pm sáb/ sat: 12-3pm - Photos: @whitebalancemx @cudelice__ #cudelicebrazeltoniv #scurried #lodosgallery
Opening Tonight 6-9pm! Cudelice Brazelton IV, Scurried September 7 - October 28, 2030 All are welcome! Pictured: Cudelice Brazelton IV Crossroad Metaphor, 2023 Acrylic, medium, metal, inkjet print on canvas 40 x 30 cm (15 ¾ x 12 in) Small openings and fragmented bodies in abstraction ornament the space. Accessory is more than a decorative element in Brazelton’s practice. Instead the accessory act as a physical symbol that embraces intuition and chance to signal to the constant assemblages of the city or the street block. Scurried is an exhibition that works in-between abstract modern modalities given in the environment with inventive material metaphors that don’t shy away from the presence of the hand. @cudelice__ #CudeliceBrazeltonIV #Scurried #lodosgallery
Save the date📢🌟 #VisitaLasGalerias Opening September 7th! Cudelice Brazelton IV ‘Scurried’ September 7 - October 28, 2023 Lodos, Mexico City Opening reception September 7th, 6-9 pm @cudelice__ #cudelicebrazeltoniv Reposted from @lodosgallery #lodosgallery #ArteCDMX #ArteContemporaneo #contemporaryartist #ContemporaryArt #contemporaryartists #artexhibit #exposiondearte #inauguración #opengallery
Opening September 7th! Cudelice Brazelton IV ‘Scurried’ September 7 - October 28, 2023 Lodos, Mexico City Opening reception September 7th, 6-9 pm @cudelice__ #cudelicebrazeltoniv
SOUNDING THE STREET… During our second LISTENING SESSION, Cudelice Brazelton IV and Paula Kommoss discussed concrete lived realities on the street and how music can be a way of processing them and taking control over their meaning. Sounds and images find their way into Brazelton IV’s work—on view at Kunstverein Freiburg are APART-PLAYING (2022) and OVERBITE (2023)—narrating different tales of the street, of dread and empowerment. Thank you all for joining! @cudelice__ @paulakosmos Photography: Slides 1-2, 4-6: Valentina Ehnimb @valeshkaa Slide 3: Gina Folly @gina_folly #BFF2 #BiennalefuerFreiburg #DasLiedderStraße #ZeitgenössischeKunst #contemporaryart #biennal #CudeliceBrazeltonIV #ListeningSession
Cudelice Brazelton IV @cudelice__ as part of 'Dans les heures creuses' with #lynnecohen #stevebishop #elidurst curated by @taddeo_reinhardt […] Consider the sculptural paintings by Cudelice Brazelton IV, 'Nonconforming Material' and 'Briefing', both 2023, made of collage, textile, and acrylic paint. The works incorporate blurry, inkjet-printed images of obscure signage and greasy floors taken around the workstation that the artist toiled in as a steel laborer, sawing tubes used for crane construction—a biographical detail that underscores his materially embedded practice. These temporary jobs would happen on third shift, or in “the off hours" […] excerpt from @artforum by Jennifer Teets @jenniferlinnieteets Pictured: 1,2 Cudelice Brazelton IV Briefing, 2023 Acrylic, plastic, sheet metal, duct tape on canvas 120 x 160 cm 3,4 Cudelice Brazelton IV Sign, 2023 Acrylic, inkjet print on oilskin canvas 130 x 170 cm #cudelicebrazeltoniv #cudelicebrazelton
Some documentation of ‘In the off hours’ a group exhibition curated by @taddeo_reinhardt at #insitufabienneleclerc ✨ […] The exhibition traces a loose network of markers that carry the complex backbone of a given time. Simply connected to the present through a few melodies, the works install a paralysis that invites observation and introspection. They challenge our capacity for interpretation and subtly put into perspective, through the representation of concrete or immaterial manifestations, our relationship to the space and time we inhabit. In the off hours, the world reveals itself in negative, causing a daze, and ends up eluding our gaze and our perception. That which is "larger than knowledge" stands unnoticed. Here perhaps lies melancholy, or pain, or boredom; there a potentiality or the unthinkable, a time past or one to come.” #stevebishop #cudelicebrazeltoniv #lynnecohen #elidurst Pictured: Briefing, 2023 Acrylic, plastic, sheet metal, duct tape on canvas 120 x 160 cm
CLOSING this Saturday 24.06.23 2-6pm Install views of “stick n poke” at FOMO Art Space in Zurich. Curated by @aalireza and @geraldinebelmont , with works by Sarah Abu Abdallah @saroshabu Mohamed Almusibli @almo.rtf Chino Amobi @chinoamobi Nicoleta Auersperg @nicoletaauersperg James Bantone @jmslupo Cudelice Brazelton IV @byscudelice_ Loucia Carlier @louciacarlier Line Chevalley @line________ch Noémi Degen / Simon Jaton @nono_dgn @simo.n.n Sylvie Fleury @fleury49000 Liam Gillick #liamgillick Shuang Li @shuangbot Kristina Lovaas @kristina.lovaas Fabian Marti @fabian_marti Jack Obrien @_jackobrien_ Ian Waelder @ianwaelder Una Szeemann @unaszeemann Phillip Zach @durianscent WITH THE AMAZING TATTOO ARTIST: @uli.pokinpirate_tattoo Photos: Nicolas Duc #sarahabuabdallah #mohamedalmusibli #chinoamobi #nicoletaauersperg #jamesbantone #cudelicebrazeltoniv #louciacarlier #linechevalley #annelisecoste #noemiedegensimonjaton #sylviefleury #liamgillick #shuangli #kristinalovaas #fabianmarti #jackobrien #unaszeemann #ianwaelder #phillipzach
Install views of “stick n poke” at FOMO Art Space in Zurich. Curated by Alana Alireza and Geraldine Belmont, with works conceived to be a tattoo by Sarah Abu Abdallah (I got her work!), Mohamed Almusibli, Chino Amobi, Nicoleta Auersperg, James Bantone, Cudelice Brazelton IV, Loucia Carlier, Line Chevalley, Anne-Lise Coste, Noémie Degen/Simon Jaton, Sylvie Fleury, Liam Gillick, Shuang Li, Kristina Lovaas, Fabian Marti, Jack O’Brien, Una Szeemann, Ian Waelder, Phillip Zach. @aalireza @geraldinebelmont @fomoartspace #sarahabuabdallah #mohamedalmusibli #chinoamobi #nicoletaauersperg #jamesbantone #cudelicebrazeltoniv #louciacarlier #linechevalley #annelisecoste #noemiedegensimonjaton #sylviefleury #liamgillick #shuangli #kristinalovaas #fabianmarti #jackobrien #unaszeemann #ianwaelder #phillipzach
Cudelice Brazelton IV @cudelice__ interviewed in the new issue of 032c @032c by Claire Koron Elat @claireoua […] To see the present through a universal gaze, you might have to consider history and all traditions that preceded—without being a traditionalist. The present and future have to be built on something new that is not a repetition of what was previously there. It is a way of deconstructing history to construct the present and futurity. […] CB: When a space is empty, it’s dormant, but it still has an energy from past events or previous activities. This residue is always present. I think you can also clearly see that in the works; there are architectural scars that I’ve been leaving over the past few years. I’m carving the space, and I’m learning through the fabric. At the same time, it’s causing something of a “flickering flare.” If I were to relate it to existing power systems in architecture, in many cases within exhibition spaces, I would like to focus on a type of shedding that is often excluded and ephemeral. #cudelicebrazeltoniv #032cmagazine #clairekoronelat
16 Warsaw-based galleries teamed up for a weekend of art fair like presentations in the form of an experimental initiative 'warsaw spring' - 16 gallery spaces were temporarily transformed into commercial shows. #cudelicebrazeltoniv #cezaryponiatowski #adamshiuyangshaw #andersdickson #jandomicz #mikolajmoskal #wrossen #karolinabielawska #joannawos Thank you all the visitors for coming, Art Basel and Paris + par Art Basel for visiting, and the organizers and partners of the event ! @warsawspring photo: Bartosz Górka
Last spring Bat-Ami Rivlin was included in the exhibition ‘whereabouts’ with Cudelice Brazelton IV and K.R.M. Mooney, curated by Dominika Tylcz at the Hessel Museum of Art, Annandale-on-Hudson, NY Image 1: “whereabouts” installation view; Image 2: Bat-Ami Rivlin "Untitled (orange net, zip ties)", 2022 (construction netting, zip ties; dimensions variable to installation); Image 3: “whereabouts” installation view; Image 4: K.R.M. Mooney "Joan Green, Bimetal IV", 2017 (steel, linear fluorescent light bulb, polyurethane,vinyl, ceramic heater, silver); Image 5: Bat-Ami Rivlin "Untitled (LED, cord, duct tape)", 2022 (detail; LED circular lightbulb, extension cord, duct tape, ballast, converter; dimensions variable to installation); Image 6: K.R.M. Mooney "Eutectic c. (i)", 2020 (specialized jewelers vise, mount, insulation, cast mistletoe and cuttlebone, silver, steel, bronze); Image 7: “whereabouts” installation view; Image 8: Cudelice Brazelton IV "With a Crooked Stance", 2021 (detail; acrylic, metal, clay, inkjet print, steel rod, wire, nails, magnets; 75 x 22 x 17 inches/190 x 56 x 43 cm); Image 9: Cudelice Brazelton IV “Nub", 2021 (control button; .66 inches/1.7 cm diameter) Photo credit: Installation views from ‘whereabouts', Hessel Museum of Art, Center for Curatorial Studies, Bard College, Annandale-on-Hudson, NY, 02 April - 29 May 2022. Master’s thesis exhibition curated by Dominika Tylcz. Photo: Olympia Shannon 2022 #BatAmiRivlin #CudeliceBrazeltonIV #KRMMooney @ubu_la_fille @ccsbard @amirivlin @lilxl @cudelice_ @olyshannon
Cudelice Brazelton IV’s (b. 1991 Dallas, USA) practice revolves around the relationship between cosmetic imagery and hardware. He collects materials that he finds in his surroundings and thro- ugh techniques of tearing, scratching, and piercing, he reimagines them. His gestures and devices often mimic ways in which one would cut their hair or assemble their outfit. Thus, while no figure is depicted there is still a feeling of a human presence: an identity. This identity refuses to be confined but comes back in various subcultural signifiers that Brazelton plays with. @cudelice__ #cudelicebrazeltoniv The artist is presented by Wschód, Warsaw @wschodgallery_warsaw Pictured: 1,2: Cudelice Brazelton IV Old Figure, 2022 acrylic, magnetic primer, foam, aluminum, marble on canvas 42 × 50 × 7 cm 3,4: Cudelice Brazelton IV Organ, 2021 iriodin, steel, clay, polyester 217 × 38 × 3 cm #echocologne #wschodgallery
[OPENING] Repost • @echo_cologne Join us this weekend for the opening of an introductory presentation of next chapter of ECHO formed as a group exhibition 'New Order' with participation of e.g. Daichi Takagi #daichitakagi Cudelice Brazelton IV #cudelicebrazeltoniv Antonio López #antoniolópez Emanuele Marcuccio #emanuelemarcuccio @diez.gallery @kayokoyukigallery @lodosgallery @wschodgallery_warsaw We are waiting for you from 12 until late this coming Saturday (January 28th)! #diezgallery #kayokoyuki #lodosgallery #wschodgallery
#DaichiTakagi and #EmiOtaguro will participate in a group show @echo_cologne from this Saturday!🌝 #Repost @echo_cologne with @use.repost ・・・ Join us this weekend for the opening of an introductory presentation of next chapter of ECHO formed as a group exhibition 'New Order' with participation of e.g. Daichi Takagi #daichitakagi Cudelice Brazelton IV #cudelicebrazeltoniv Antonio López #antoniolópez Emanuele Marcuccio #emanuelemarcuccio @diez.gallery @kayokoyukigallery @lodosgallery @wschodgallery_warsaw We are waiting for you from 12 until late this coming Saturday (January 28th)! #diezgallery #kayokoyuki #lodosgallery #wschodgallery
Join us this weekend for the opening of an introductory presentation of next chapter of ECHO formed as a group exhibition 'New Order' with participation of e.g. Daichi Takagi #daichitakagi Cudelice Brazelton IV #cudelicebrazeltoniv Antonio López #antoniolópez Emanuele Marcuccio #emanuelemarcuccio @diez.gallery @kayokoyukigallery @lodosgallery @wschodgallery_warsaw We are waiting for you from 12 until late this coming Saturday (January 28th)! #diezgallery #kayokoyuki #lodosgallery #wschodgallery
Last chance to see Cudelice Brazelton IV’s solo exhibition 'Under Conditions' ! The show will be closing after 28.01.2023. You can visit us Tuesday- Saturday; 12 - 6 pm “Brazelton’s fascination with skin abrasion can be felt in the use of oilskin canvases. He layers the fabric through tracing and folding. As explained by the artist, „like shedding skin, the surface of these works flakes off from the electrical tool brush used to render an outline of a haircut while the folded waxed canvas holds its creases for bodily effect”. Thus, while no figure is depicted, we can still feel a human presence. Brazelton’s forms suggest an identity through the use of black cosmetics and stylistic manipulations. His interest in identities links back to subcultural processes that mark the skin. The markings, like tattoos, have at once very specific meanings only familiar to members of the same group, as well as show a universal human desire to express one’s difference" […] Pictured: 1. Tendered Blond, 2022 charcoal, silver on oilskin canvas 90 x 70 x 6.5 cm Right There, 2022 plastic, nail on oilskin canvas 90 x 70 cm 2. Scene, 2022 acrylic, metal, bergamot, inkjet print on canvas 50 x 40 cm Spur, 2022 metal, clothesline, inkjet print varying dimensions Wrong Coat, 2022 Corduroy, foam, clay, pomade, string, metal, inkjet print 138 × 278 × 230 cm 3. Dwarf, 2022 acrylic on canvas 160 x 120 cm @cudelice__ #cudelicebrazeltoniv #exhibition #wschod #sitespecific
Na dobry początek roku w środę odwiedziliśmy trzy wystawy: 🌈 Daniela Rycharskiego @daniel_rycharski w @gunianowikgallery, gdzie oprowadził nas kurator @msnwarszawa Szymon Maliborski @szymon_maliborski, 👞 Gizeli Mickiewicz @gizela_mickiewicz w galerii @stereo_warsaw, gdzie spotkaliśmy się z artystką, 🖼️ oraz Cudelice'a Brazeltona IV @cudelice__ w @wschodgallery_warsaw. Bardzo cieszymy się, że już na pierwszym wydarzeniu w tym roku spotkaliśmy się w tak licznym gronie. Do zobaczenia na kolejnych wydarzeniach wkrótce! #danielrycharski #gizelamickiewicz #cudelicebrazeltoniv #sztukanowoczesna #sztukawspółczena #malarstwo #rzeźba #instalacja #warszawa
You can still check out Cudelice Brazelton IV’s solo exhibition "Under Conditions” before we temporarily close for our Holiday Break - 22.12.2022 - 10.01.2023 The exhibition will be up until 28.01.2023 […] “This theatrical experimentation continues in Wrong Coat, where a dark gray corduroy sheet is nailed to the gallery’s wall. The concave serves as a slot for a cape-like gesture that arcs like an open coat. A foam head used for wigs is attached to a swiveling handle slathered in pomade wax. The sculptural element of the head is mounted at the top center of the doorway, creating a bizarre figurative installation of a tall waxy figure shrouded in cord. Wrong Coat references Brazelton’s interest with James Son Ford Thomas’ eerie clay sculptures and the Capuchin Catacombs of Palermo. The figures give what he calls an urban sense of dark humor. He says, ”this strategy allows me to dis- rupt the rigid self-serious implications of a conceptual and minimal exhibition format”. The gallery space, as we know it, becomes disrupted.” Pictured: Cudelice Brazelton IV Wrong Coat, 2022 Corduroy, foam, clay, pomade, string, metal, inkjet print 138 × 278 × 230 cm @cudelice__ #cudelicebrazeltoniv
We are very happy to share that works of Cudelice Brazelton IV @cudelice__ are now part of Bundeskunstsammlung Deutschland (The Federal Collection of Contemporary Art, Germany) as a result of his solo show 'Starter Kit' at Galerie Barbara Weiss, Berlin @galeriebarbaraweiss Pictured: 1: Cudelice Brazelton IV With a Crooked Stance, 2021 Acrylic, metal, clay, inkjet print, steel rod, wire, nails, magnets 42.5 x 190 x 56 cm 2: Cudelice Brazelton IV Forge, 2021 Acrylic, paper, cardboard, cufflink, synthetic leather, carpet on canvas 47 x 34 x 3.5 cm 3: Cudelice Brazelton IV Gi, 2021 Electrical tape, thread, synthetic leather, acrylic, paper, chiffon, plastic, car bumper, aluminium, metal pipe 370 x 140 x 205 cm #cudelicebrazeltoniv #cudelicebrazelton #bundeskunstsammlung
Cudelice Brazelton IV’s solo exhibition 'Under Conditions’ opens today 3 - 8 pm at Wschód, Warsaw ! […] Materiality is essential in Brazelton’s practice. He works with industrial materials reminiscent of his own US reality but also focuses on materials common to everyone, such as skin. It is evident that skin is a heavily-charged signifier that can dictate social relations. This material is often literally zoomed in on, becoming a prominent point of his examination. The formal composition of 'Scene' refers to wrinkled leather. The carved-out canvas reveals an inkjet-printed image of Brazelton’s body. The piece sets a tonal view of the show in the back of the gallery and invites a potentially cinematic experience […] @cudelice__ #cudelicebrazeltoniv
Last days to see 'Tensors' by Cudelice Brazelton IV @cudelice__ at Cell Project, London @cell_project_space curated by Adomas Narkevičius @adomas.n Tensors Cudelice Brazelton IV September 23 - November 20, 2022 Cell Project Space, London Tensors, Dallas-born artist Cudelice Brazelton IV’s first solo exhibition in the UK, forms a reactive environment through newly-commissioned sound, installation, painting and assemblage works. ‘Tensors’ refers at once to mathematical objects, anticipating an array of variations a vector might take, and muscles, stretching and tightening parts of our bodies. Discussing the exhibition and its spatial orientation, Brazelton returns to the idea of peripheral vision: beyond the eye’s capacity to sense objects and movement outside of the centre of the gaze, it is close to an embodied feeling of dormant threat. A haunting presence that does not leave the bodies of those who have lived in precarious environments. Manipulating what he calls ‘the undercurrents in the material’, Brazelton reorganises signs, forms and objects commonly associated with either historical avant-gardes or industrial modernity to render their social and material links with subcultural sensibilities of punk, industrial labour processes and the Black experience evident [...] Tensors seeks to decentre: the installation in relation to its surroundings; the subject who moves without peripheral vision; a cerebral pursuit of subject matter. Instead, it favours a heightened bodily sense of the immediate setting and its idiosyncrasies. Brazelton treats form not so much as a closed visual system but as part of lived reality, slipping in and out of these fields of play. Harnessing abstraction’s potential, Tensors sharpens awareness of the material environment; a more casual approach to untangling cultural and social fixations. #cudelicebrazeltoniv #cudelicebrazelton #cellprojectspace
This spring Bat-Ami Rivlin was included in the exhibition ‘whereabouts’ with Cudelice Brazelton IV and K.R.M. Mooney, curated by Dominika Tylcz at the Hessel Museum of Art, Annandale-on-Hudson, NY Image 1: Bat-Ami Rivlin "Untitled (orange net, zip ties)", 2022 (construction netting, zip ties; dimensions variable to installation); Image 2: K.R.M. Mooney "Eutectic c. (i)", 2020 (specialized jewelers vise, mount, insulation, cast mistletoe and cuttlebone, silver, steel, bronze; Image 3: “whereabouts” installation view; Image 4: K.R.M. Mooney "Joan Green, Bimetal IV", 2017 (steel, linear fluorescent light bulb, polyurethane,vinyl, ceramic heater, silver; Image 5: “whereabouts” installation view; Image 6: Bat-Ami Rivlin "Untitled (LED, cord, duct tape)", 2022 (detail; LED circular lightbulb, extension cord, duct tape, ballast, converter; dimensions variable to installation); Image 7: Cudelice Brazelton IV "With a Crooked Stance", 2021 (detail; acrylic, metal, clay, inkjet print, steel rod, wire, nails, magnets; 75 x 22 x 17 inches/190 x 56 x 43 cm); K.R.M. Mooney "Joan Green, Bimetal IV", 2017 (steel, linear fluorescent light bulb, polyurethane,vinyl, ceramic heater, silver; 12 x 112 inches/31 x 285 cm); Image 8: Cudelice Brazelton IV “Nub", 2021 (control button; .66 inches/1.7 cm diameter) Photo credit: Installation views from ‘whereabouts', Hessel Museum of Art, Center for Curatorial Studies, Bard College, Annandale-on-Hudson, NY, 02 April - 29 May 2022. Master’s thesis exhibition curated by Dominika Tylcz. Photo: Olympia Shannon 2022 #BatAmiRivlin #CudeliceBrazeltonIV #KRMMooney @ubu_la_fille @ccsbard @amirivlin @lilxl @cudelice_ @olyshannon
3D Art Sculpture 2022 Cudelice Brazelton IV @cudelice__ at Cell Project Space @cell_project_space Reposted from @art.viewer 🙏🏽 #cellprojectspace #cudelicebrazeltoniv
Cudelice Brazelton IV at Cell Project Space @cell_project_space @cudelice__ #cellprojectspace #cudelicebrazeltoniv
Ivan Cheng’s work is included in the group show ‘base note’ curated by @koartadvisory at @anonymousgallery in NY. Through October 29, 2022 136 Baxter St. NYC with: #cudelicebrazeltonIV #ivancheng #ghislaineleung #willsheridanjr #sungtieu Picture: Ivan Cheng Cookie rail (Parataxis), 2021 Stainless steel, oak, veneer 80 x 20.8 x 16 cm Design: Thorben Gröbel ©️Shark Senesac @ic_ic @restaurantprojects #anonymousgallery
Last night's opening no.1 with @birgittahosea 🙏🏾❤️🙏🏾 #Tensors @cudelice_ @cell_project_space "Tensors, Dallas-born artist Cudelice Brazelton IV’s first solo exhibition in the UK, forms a reactive environment through newly-commissioned sound, installation, painting and assemblage works." - Press Release #cudelicebrazeltoniv #cellprojectspace #sound #installation #reactive #painting #assemblage #adomasnarkevičius #curator #ArtLife
base note installation + Cudelice Brazelton IV Blemish, 2021 lacquer, wooden stamp, ink 4.7 x 7.9 in 12 x 20 cm @cudelice_ #CudelicebrazeltonIV base note Curated by @restaurantprojects Cudelice Brazelton IV Ivan Cheng Ghislaine Leung Will Sheridan Jr. Sung Tieu through Oct. 29, 2022 136 Baxter St. NYC #anonymousgallery 📷 @sharksenesac
Cudelice Brazelton IV: Tensors at Cell Project Space. Link in bio. #cudelicebrazeltoniv #cellprojectspace #tensors #london #artnews
🪺 CUDELICE BRAZELTON IV IVAN CHENG GHISLAINE LEUNG WILL SHERIDAN JR. SUNG TIEU base note Curated by K.O. Nnamdie Sept. 8, 2022 - Oct. 29, 2022 Opening Sept. 8 6-8 @cudelice_ @ic_ic @ghislaineleung @willsheridanjr @sungtieu with an olfactory experience by @es84parfums save the date 🕰 🗓 #basenote #cudelicebrazeltoniv #ivancheng #ghislaineleung #willsheridanir #sungtieu #konnamdie #anonymousgallery
Installation views from Bat-Ami Rivlin’s recent exhibition with KRM Mooney and Cudelice Brazelton IV, curated by Dominika Tylcz Image 1: Installation view from ‘whereabouts’; Image 2: Bat-Ami Rivlin "Untitled (LED, cord, duct tape)", 2022 (detail; LED circular lightbulb, extension cord, duct tape, ballast, converter; dimensions variable to installation); Photo credit: Installation views from ‘whereabouts', Hessel Museum of Art, Center for Curatorial Studies, Bard College, Annandale-on-Hudson, NY, 02 April - 29 May 2022. Master’s thesis exhibition curated by Dominika Tylcz. Photo: Olympia Shannon 2022 #BatAmiRivlin #CudeliceBrazeltonIV #KRMMooney #DominikaTylcz #CCSBard @ubu_la_fille @ccsbard @amirivlin @lilxl @cudelice_ @olyshannon #M23 #M23projects Link in bio
As part of the exhibition, the Kunstverein Bielefeld has published a reproduction of Parrot, Karl Larsson’s book of poems. Parrot is dedicated to the artist and poet Marcel Broodthaers, who gave up poetry for economic reasons, turning instead to art. The invitation to his first exhibition read: “I, too, wondered whether I could not sell something and succeed in life.” Larsson thus takes up the very form rejected by Broodthaers, so as to reflect on what poetry can still be today. The poet Lisa Robertson writes: “From the point of view of capital, poetry is defunct.“ Poems are curious, pathetic, luxurious. For Larsson, however, this is where the potential of poetry lies. His poems are containers, relating to what he calls “undiscovered others.” In Parrot, Larsson asks: "can it be that simple / poetry is the enemy / of capitalism”. Larsson’s poems give poetry the body it needs to be able to speak, to have the voice it needs to be able to address other bodies. The figure of the eponymous parrot is central here. The parrot is the echo that accompanies the question of who is speaking, but also the question of what conditions are needed for a voice to make itself heard. Parrot was published by Paraguay Press, Paris, in 2010. Its reproduction by the Kunstverein Bielefeld appears in an edition of 300 copies. On Sunday, 03.07.2022, 17:00, the last guided tour through the current exhibition Don’t Say I Didn’t Say So by Valerie Kurbakov takes place. Admission is free on Sundays. Don’t miss!! #CudeliceBrazeltonIV @cudelice_ #IrinaLotarevich @irinalotarevich #PierreAllain @pierreallain_ #TimothéeCalame #ToniSchmale #YeşimAkdeniz @yesimakdeniz #Parrot #KarlLarsson Karl Larsson, Parrot, Reprint, 2022, Exhibition view Don't Say I Didn’t Say So, Kunstverein Bielefeld 2022. Photo: Fred Dott
Toni Schmale’s sculptural practice addresses power relations within society and traditional gender attributions. Her sculptures, made of steel or concrete, evoke associations with machines and tools, emphasizing how the body can grow stronger or weaker. In the exhibition Don’t Say I Didn’t Say So, Schmale presents fury #2 (2022), a metal sculpture in which a tube protrudes from a wall, overlapped by another metal tube which has the appearance of fabric. The surface of the object was processed using two opposing processes: sandblasting and burnishing. In industrial production, the two processes would not be combined, as they interact dysfunctionally, because sandblasting roughens the surface of the object and dulls it. Burnishing, on the other hand, makes the surface smoother and establishes the black appearance. On Sunday, 26.06.2022, 17:00, a guided tour by Leonore Spemann takes place. Admission is free on Sundays. #CudeliceBrazeltonIV @cudelice_ #IrinaLotarevich @irinalotarevich #PierreAllain @pierreallain_ #TimothéeCalame #ToniSchmale #YeşimAkdeniz @yesimakdeniz #Parrot #KarlLarsson Toni Schmale, fury #2, 2022, Exhibition view Don't Say I Didn’t Say So, Kunstverein Bielefeld 2022. Photo: Fred Dott
LISTE @liste_art_fair_basel with new wall-based collages by Cudelice Brazelton IV @cudelice_ Hall 1.1 | Booth 20 shared with Gianni Manhattan _ Throughout the practice, Brazelton has sustained it from working in steel foundries in Columbus Ohio. He is fascinated with the similarities and differences between the two spaces of the hair salon and steel foundry in order to combine popular culture with the act of industrial labor. The work demonstrates an interest in the skills and processes needed in these two fields; resulting in combinations that obscures figuration and leans towards abstraction. The gentle touching and movement of the head is a contrast to the reserved body language within general labor and steel working facilities. Both utilize special tools that are used for modification […] Pictured: Cudelice Brazelton IV Valve, 2022 magnetic primer, rubber, graphite, magnet, inkjet print on canvas 140 x 110 cm #cudelicebrazelton #cudelicebrazeltoniv #listeartfair #listebasel2022
Tomorrow on public holiday we are open from 12:00 - 19:00 for you! DON’T SAT I DIDN’T SAY SO #CudeliceBrazeltonIV @cudelice_ #IrinaLotarevich @irinalotarevich #PierreAllain @pierreallain_ #TimothéeCalame #ToniSchmale #YeşimAkdeniz @yesimakdeniz #KarlLarsson On view until July 3rd. #dontmissit #wearelookingforwardtoyourvisit Photo: @malteoing
@liste_art_fair_basel opened today ! We are presenting a new body of wall-based collages, paintings and objects by Cudelice Brazelton IV @cudelice_ Visit us at the booth 20 shared with Vienna-based gallery Gianni Manhattan @giannimanhattan with a solo presentation by Laurence Sturla Photos by Gina Folly #listeartfair #cudelicebrazelton #cudelicebrazeltoniv
Just recently Cudelice Brazelton IV @cudelice_ presented his extensive solo show at LA-based gallery @murmurs.la The show titled 'Curve of Many' consisted of work in the form of painting, collage, sound, and sculpture which often blend in with the surrounding architecture by wrapping along corners of walls and intervening in the infrastructure of the warehouse gallery space. Brazelton combined self-fashioning cues with the preexisting industrial material in a particular space to reveal a set of codes which serve as a way to achieve autonomy within systems of power. Cudelice Brazelton IV A Curve of Many Murmurs LA, Los Angeles March 19 - May 1, 2022 Pictured: 1,2,4: Installation view 3: Cudelice Brazelton IV Three Quarters, 2022 Acrylic, magnetic primer, inkjet print, rubber, plaster, leather, velvet on canvas 133 x 145 cm #cudelicebrazelton #cudelicebrazeltoniv #murmursla
Pierre Allain transforms control mechanisms into visible forms; mechanisms which may be ubiquitous but are not always perceptible. His work questions the social restrictions imposed on bodies in places of communal gathering, as well as interrogating the economization of public space. Allain has developed two site-specific works for Don’t Say I Didn’t Say So. The piece Emotional Curative Maintenance (2022) consists of eight stainless steel plates of various sizes arranged in sequence along a wall. Healing Machine (2022) comprises industrial containers filled with chemical ingredients suitable for the potential production of ultrasound gel. On Sunday, 12.06.2022, 17:00, a guided tour by Carsten Gude takes place. Admission is free on Sundays. #CudeliceBrazeltonIV @cudelice_ #IrinaLotarevich @irinalotarevich #PierreAllain @pierreallain_ #TimothéeCalame #ToniSchmale #YeşimAkdeniz @yesimakdeniz #Parrot #KarlLarsson Pierre Allain, Emotional Curative Maintenance, 2022, Healing Machine, 2022, Exhibition view Don't Say I Didn’t Say So, Kunstverein Bielefeld 2022. Photo: Fred Dott
We are pleased to invite you to the upcoming edition of Liste Basel @liste_art_fair_basel with the solo presentation of Cudelice Brazelton IV @cudelice_ LISTE BASEL Hall 1.1 | Booth 20 shared booth with Gianni Manhattan @giannimanhattan Liste Art Fair Basel Messe Basel, Hall 1.1 Entrance behind Art Unlimited Maulbeerstrasse / corner Riehenring 113 4058 Basel Preview: Monday, 13 June 2022 11 am – 6 pm Public opening: Monday, 13 June 2022 6 pm – 8 pm Tuesday, 13 June – Saturday, 18 June 2022 12 am – 8 pm Sunday, 19 June 11 am – 4 pm - Furthermore, we are thrilled to announce the Art Basel Parcours @artbasel site specific project with Maria Loboda @marialoboda000 ART BASEL PARCOURS curated by Samuel Leuenberger @samuel_leuenberger off Wettsteinbrücke St. Alban-Rheinweg 2 (pebble beach) Opening: Monday, June 13, 2022, 1pm to 4pm (projects can be visited until 8pm) Tuesday, 13 June – Saturday, 18 June 2022 10 am – 8 pm Parcours Night: Saturday, June 19, 2022 4pm to 11pm The project is presented jointly with Thomas Schulte, Berlin and Maisterravalbuena, Madrid. - Pictured: 1. Cudelice Brazelton IV Schwarzschild, 2020 acrylic, leather, magnet, found plastic, plexiglass, magnetic primer, drop cloth, and inkjet print on canvas 122 x 91.5 cm 2. Maria Loboda The Year of Living Dangerously, 2022 mixed media various dimensions #cudelicebrazelton #cudelicebrazeltoniv #marialoboda #listeartfairbasel #artbaselparcours
Cudelice Brazelton’s work deals with the way bodies are put at risk of instrumentalization. His installations take a cross-media approach to address this question, using materials including found objects, textiles, and construction materials. Placed within his pieces, objects like rivets and leather belts take on an associative charge. Brazelton’s assemblages always address not only what is depicted but also representation itself. They incorporate the environment in which they are located, thus questioning what lies behind and in front of the surface of the (work’s) body. Skin and the Black subject are always present in his work. On Sunday, 05.06.2022, 17:00, a guided tour by Carsten Gude takes place. Admission is free on Sundays. #CudeliceBrazeltonIV @cudelice_ #IrinaLotarevich @irinalotarevich #PierreAllain @pierreallain_ #TimothéeCalame #ToniSchmale #YeşimAkdeniz @yesimakdeniz #karllarsson #Parrot Cudelice Brazelton IV, Gauged, 2020, Exhibition view Don't Say I Didn’t Say So, Kunstverein Bielefeld 2022. Photo: Fred Dott
Special opening hours: On tomorrow's day off, on Friday and on the weekend the group exhibtion Don’t Say I Didn’t Say So is open from 12:00 - 19:00 for you! Admission is free on Sundays. In addition, our mediator Valerie Kurbakov offers a guided tour of the current exhibition on Sunday, 17:00. #CudeliceBrazeltonIV @cudelice_ #IrinaLotarevich @irinalotarevich #PierreAllain @pierreallain_ #TimothéeCalame #ToniSchmale #YeşimAkdeniz @yesimakdeniz #Parrot #KarlLarsson Yeşim Akdeniz, selfportrait as orientalist carpet 18, 2022, Exhibition view Don't Say I Didn’t Say So, Kunstverein Bielefeld 2022. Photo: Fred Dott
#hyperinterface Credit @m23projects Final week - ‘whereabouts' Bat-Ami Rivlin, Cudelice Brazelton IV, K.R.M. Mooney Curated by Dominika Tylcz On view through 29 May 2022 Hessel Museum of Art Bard College Annandale-on-Hudson, NY 12504 Image 1: Bat-Ami Rivlin "Untitled (orange net, zip ties)", 2022 (construction netting, zip ties; dimensions variable to installation); Image 2: “whereabouts” installation view; Image 3: Bat-Ami Rivlin "Untitled (LED, cord, duct tape)", 2022 (detail; LED circular lightbulb, extension cord, duct tape, ballast, converter; dimensions variable to installation); Image 4: K.R.M. Mooney "Joan Green, Bimetal IV", 2017 (steel, linear fluorescent light bulb, polyurethane,vinyl, ceramic heater, silver; 12 x 112 inches/31 x 285 cm); Image 5: Cudelice Brazelton IV "With a Crooked Stance", 2021 (detail; acrylic, metal, clay, inkjet print, steel rod, wire, nails, magnets; 75 x 22 x 17 inches/190 x 56 x 43 cm); Image 6: K.R.M. Mooney "Eutectic c. (i)", 2020 (specialized jewelers vise, mount, insulation, cast mistletoe and cuttlebone, silver, steel, bronze; 7.5 x 4.25 x 7 inches/19 x 11 x 18 cm); Image 7: “whereabouts” installation view; Image 8: Cudelice Brazelton IV “Nub", 2021 (control button; .66 inches/1.7 cm diameter) Photo credit: Installation views from ‘whereabouts', Hessel Museum of Art, Center for Curatorial Studies, Bard College, Annandale-on-Hudson, NY, 02 April - 29 May 2022. Master’s thesis exhibition curated by Dominika Tylcz. Photo: Olympia Shannon 2022 #BatAmiRivlin #CudeliceBrazeltonIV #KRMMooney @ubu_la_fille @ccsbard @amirivlin @lilxl @cudelice_ @olyshannon
Final week - ‘whereabouts' Bat-Ami Rivlin, Cudelice Brazelton IV, K.R.M. Mooney Curated by Dominika Tylcz On view through 29 May 2022 Hessel Museum of Art Bard College Annandale-on-Hudson, NY 12504 Image 1: Bat-Ami Rivlin "Untitled (orange net, zip ties)", 2022 (construction netting, zip ties; dimensions variable to installation); Image 2: “whereabouts” installation view; Image 3: Bat-Ami Rivlin "Untitled (LED, cord, duct tape)", 2022 (detail; LED circular lightbulb, extension cord, duct tape, ballast, converter; dimensions variable to installation); Image 4: K.R.M. Mooney "Joan Green, Bimetal IV", 2017 (steel, linear fluorescent light bulb, polyurethane,vinyl, ceramic heater, silver; 12 x 112 inches/31 x 285 cm); Image 5: Cudelice Brazelton IV "With a Crooked Stance", 2021 (detail; acrylic, metal, clay, inkjet print, steel rod, wire, nails, magnets; 75 x 22 x 17 inches/190 x 56 x 43 cm); Image 6: K.R.M. Mooney "Eutectic c. (i)", 2020 (specialized jewelers vise, mount, insulation, cast mistletoe and cuttlebone, silver, steel, bronze; 7.5 x 4.25 x 7 inches/19 x 11 x 18 cm); Image 7: “whereabouts” installation view; Image 8: Cudelice Brazelton IV “Nub", 2021 (control button; .66 inches/1.7 cm diameter) Photo credit: Installation views from ‘whereabouts', Hessel Museum of Art, Center for Curatorial Studies, Bard College, Annandale-on-Hudson, NY, 02 April - 29 May 2022. Master’s thesis exhibition curated by Dominika Tylcz. Photo: Olympia Shannon 2022 #BatAmiRivlin #CudeliceBrazeltonIV #KRMMooney @ubu_la_fille @ccsbard @amirivlin @lilxl @cudelice_ @olyshannon
Have you already seen the current group exhibition Don’t Say I Didn’t Say So featuring the work of the artists Cudelice Brazelton IV, Irina Lotarevich, Pierre Allain, Timothée Calame, Toni Schmale, Yeşim Akdeniz, and Karl Larsson? Part of the show is the reprint of the publication Parrot by Karl Larsson which was published in the course of the group exhibition. Sunday, 22.05.2022, 17:00, CURATOR'S TOUR through the exhibition with Nadine Droste #CudeliceBrazeltonIV @cudelice_ #IrinaLotarevich @irinalotarevich #PierreAllain @pierreallain_ #TimothéeCalame #ToniSchmale #YeşimAkdeniz @yesimakdeniz #Parrot #KarlLarsson Karl Larsson, Parrot, Reprint, 2022, Exhibition view Don't Say I Didn’t Say So, Kunstverein Bielefeld 2022. Photo: Fred Dott
Wo zeigt sich der innere Zusammenhang zwischen moderner Ästhetik und Disziplinargesellschaft? Das Disziplinarsystem, das sich zeitgleich mit der Ästhetik im 18. Jahrhundert entwickelt, nimmt die Formung des Körpers, die Steigerung seiner Kräfte in den Fokus, um dessen ökonomische Nützlichkeit zu erhöhen. Die Gruppenausstellung im Kunstverein Bielefeld geht von der Frage aus: Das Prinzip der gegenwärtigen „Kontrollgesellschaften“ (Gilles Deleuze) hat die Disziplinarprozesse keineswegs ersetzt. Vielmehr ist der Körper als Austragungsort von politischen und ökonomischen Interessen umkämpfter denn je. Was aber bedeutet dies für aktuelle soziale Praktiken? Worin liegt ihr Widerstandspotential? Don’t Say I Didn’t Say So Cudelice Brazelton IV Irina Lotarevich Pierre Allain Timothée Calame Toni Schmale Yeşim Akdeniz und Parrot von Karl Larsson 02.04.2022 – 03.07.2022 Kunstverein Bielefeld Weitere Informationen: kunstverein-bielefeld.de #CudeliceBrazeltonIV #IrinaLotarevich @[17841400733548610:@irinalotarevich] #PierreAllain #TimothéeCalame #ToniSchmale #YeşimAkdeniz @[17841400764734383:@yesimakdeniz] #Parrot #KarlLarsson #Kunstverein #Bielefeld Abb.: 1_Irina Lotarevich Housing Anxiety 3, 2022 Courtesy the artist Ausstellungsansicht / Exhibition view Don’t Say I Didn’t Say So Kunstverein Bielefeld 2022 Photo: Fred Dott 2_Irina Lotarevich Fallopian Bridge Structure, 2022 Irina Lotarevich Overtime, 2021 Courtesy the artist Ausstellungsansicht / Exhibition view Don’t Say I Didn’t Say So Kunstverein Bielefeld 2022 Photo: Fred Dott 3_Irina Lotarevich Overtime, 2021 Courtesy the artist Ausstellungsansicht / Exhibition view Don’t Say I Didn’t Say So Kunstverein Bielefeld 2022 Photo: Fred Dott
’Don’t Say I Didn’t Say So', Group Project at Kunstverein Bielefeld, #Bielefeld w/ #CudeliceBrazeltonIV #IrinaLotarevich #PierreAllain #TimothéeCalame #ToniSchmale #YeşimAkdeniz and Parrot by #KarlLarsson #tzvetnik @kunstverein_bielefeld
Housing Anxiety 🗝 The group show „Don’t Say I Didn’t Say So“ on view at Kunstverein Bielefeld. ⤵️ Featuring the work of Cudelice Brazelton IV, Irina Lotarevich, Pierre Allain, Timothée Calame, Toni Schmale and Yeşim Akdeniz. „The group exhibition focuses on the question: What is the inherent connection between modern aesthetics and the disciplinary society? The disciplinary system emerged in the eighteenth century, at the same time as the field of aesthetics. Its focus is on forming the body, increasing its powers and thus its economic utility. Contemporary societies may be 'societies of control' (Gilles Deleuze) but they continue to maintain disciplinary processes. In fact, the body is more contested than ever as a site of competing political and economic interests. But what does this mean for contemporary social practices? What potential for resistance do they possess?“ Photos: Fred Dott. #KunstvereinBielefeld #kunstverein #CudeliceBrazeltonIV #CudeliceBrazelton #IrinaLotarevich #PierreAllain #TimothéeCalame #TimotheeCalame #ToniSchmale #YeşimAkdeniz #YesimAkdeniz #groupshow #emergingartists #bielefeld
Closing soon - ‘whereabouts' Bat-Ami Rivlin, Cudelice Brazelton IV, K.R.M. Mooney Curated by Dominika Tylcz On view through 29 May 2022 Hessel Museum of Art Bard College Annandale-on-Hudson, NY 12504 Images: Installation views from ‘whereabouts', Hessel Museum of Art, Center for Curatorial Studies, Bard College, Annandale-on-Hudson, NY, 02 April - 29 May 2022. Master’s thesis exhibition curated by Dominika Tylcz. Photo: Olympia Shannon 2022 #BatAmiRivlin #CudeliceBrazeltonIV #KRMMooney @ubu_la_fille @ccsbard @amirivlin @lilxl @cudelice_ @olyshannon
Swing by to see the current exhibition Don’t Say I Didn’t Say So! On Sunday, 15.05.2022, 11:00 – 18:00, the MUSEUMS-RALLY on the International Museums Day takes place. Six Bielefeld museums, along with the association Bielefelder Konsens - Pro BI, invite you to guess and win. In cooperation with Bielefeld Historical Museum, Kunstforum Hermann Stenner, Kunsthalle Bielefeld, Museum Huelsmann and Museum of Natural History. Our mediators will be there to answer your questions and give you short introductions to the objects on display. #CudeliceBrazeltonIV @cudelice_ #IrinaLotarevich @irinalotarevich #PierreAllain @pierreallain_ #TimothéeCalame #ToniSchmale #YeşimAkdeniz @yesimakdeniz #Parrot #KarlLarsson Toni Schmale, fury #2, 2022, Exhibition view Don't Say I Didn’t Say So, Kunstverein Bielefeld 2022. Photo: Fred Dott
Liste 2022 ❤️Cudelice Brazelton IV @cudelice_ presented by Wschód, Warsaw/Cologne #ListeArtFairBasel #ListeArtFair2022 #ListeShowtime #ListeExpedition #ArtFair #Galleries2022 #CudeliceBrazeltonIV #WschodGallery #love #ListeArtists2022 #Liste2022
Sunday, 08.05.2022, 17:00 GUIDED TOUR through the current group exhibition Don’t Say I Didn’t Say So with Katharina Götz Admission is free on Sundays. #CudeliceBrazeltonIV @cudelice_ #IrinaLotarevich @irinalotarevich #PierreAllain @pierreallain_ #TimothéeCalame #ToniSchmale #YeşimAkdeniz @yesimakdeniz #Parrot #KarlLarsson Timothée Calame, Mobilier/Documentaire #1, Mobilier/Documentaire #2, Mobilier/Documentaire #3, 2020/2022, Exhibition view Don't Say I Didn’t Say So, Kunstverein Bielefeld 2022. Photo: Malte B. Oing @malteoing