Wednesday, March 21, 2012

fee's LIST / through 3/27

* Eikoh Hosoe @ BLD Gallery / 2-4-9 Ginza, Chuo Ward Tokyo (JR Yurakucho Station, Marunouchi Line to Ginza Station). The gallery's season-long retrospective on the pivotal Modernist photographer now follows his collaboration with and homage to Butoh dancer Kazuo Ohno, in "The butterfly dream". The series resulted in a collected monograph released in 2006, in celebration of Ohno's 100th birthday.

* Michelangelo Pistoletto "Lavoro" @ Luhring Augustine / 531 W 24th St. Pistoletto staged this new series of mirror "paintings" at London's Simon Lee Gallery last autumn, which features his signature mirrors overlaid w/ elements of construction, dust, and rubble—not exactly out of place within W. Chelsea. This show will draw mad crowds (tourists love taking photos of themselves w/in a Pistoletto mirror), but you can't really miss it either, right?

* Stan Douglas "Disco Angola" @ David Zwirner / 525 W 19th St. I dug Douglas' "Midcentury Studio" installation in the gallery last year, but I think his assuming the role of a fictional photojournalist amid NYC's roiling early '70s disco underground sounds even doper. He includes works from Angola (considering saxophonist Manu Dibango's "Soul Makossa", widely considered the first disco hit) and NY, plus the historical, political and cultural moments encompassing them.

* Kathy Ruttenberg "The Earth Exhales" @ STUX Gallery / 530 W 25th St. New, disturbing ceramics in Ruttenberg's debut at the gallery, including woodland creatures, humans, and the forest itself blurred into wild amalgams.

* Jackie Saccoccio @ Eleven Rivington / 11 Rivington St. New brain-frying large-scale abstract paintings from the NY/CT-based artist, set as imageless "portraits" with lots of wild poured, splashed, and stained elements. Yum.

* Vibha Galhotra "Utopia of Difference" @ Jack Shainman Gallery / 512 W 20th St. The New Delhi-based artist celebrates her debut at the gallery (and NY, in broader terms) w/ her sewn-metal "ghungroos" and sculpture reflecting urbanization and the environment within contemporary society.

* Catherine Lee "Quanta" @ Galerie Lelong / 528 W 26th St. Lee bridges off from her glazed raku ceramic sculptures in this new series of grid paintings, most featuring layers of sublime differing hues.

* Susan Hartnett, Ralph Humphrey, Marilyn Lerner, Dona Nelson @ Mary Boone Gallery / 745 Fifth Ave. My heart just jumped a little in my chest when reading the press release for this group show of sorta-abstract painters, curated by Klaus Kertess. Mainly for Nelson, whose iconic freestanding panels both highlight her choice of structural elements and the stretcher itself plus magnify her two-sided textural paintings.

* Adolph Gottlieb "Gravity, Suspension, Motion" @ The Pace Gallery / 534 W 25th St. Nearly two decades' worth of the Abstract Expressionist's large-scale later works, including examples from series "Labyrinths", "Bursts", and "Imaginary Landscapes", highlighting dialogues between disparate forms and planar space.

* "The Spirit Level", curated by Ugo Rondinone @ Gladstone Gallery / 515 W 24th St. That Swiss trickster and smile-inducer curated this 19-artist pan-medium group show, feat. Martin Boyce, Ann Craven, Latifa Echakhch, Amy Granat, Klara Liden, Rudolf Schwartzkogler, among others.

* Liz Magic Laser @ Derek Eller Gallery / 615 W 27th St. Were you cool enough to catch Laser's Performa-commissioned video "I Feel Your Pain", performed, filmed and edited live in the midst of a theatre audience during last year's Performa 11? The end result is featured here, alongside the live performance "The Digital Face", which will ultimately become a two-channel slide projection in the gallery.

* Rory Donaldson "Shared Roadway Ahead" @ Winkleman Gallery / 621 W 27th St. The Scottish-born, NY-based artist heavily works over his digital photographs of cityscapes and more rural environments, creating the illusion of paint (think particularly Gerhard Richter's abstract techniques) by stripping and distorting the prints' digital information.

* "Argento: Il Cinema Nel Sangue" @ MAD Museum / 2 Columbus Circle (CE/123 to 59th St/Columbus Circle). A three-month retrospective celebrating giallo god Dario Argento and his hot daughter Asia, punnily translated as "Cinema in the Blood"? Damn, MAD Museum, you're still cool in my books. Check back for LIST updates on the dopeness, but the series begins strong with:
+ "Se tutee le donne del mondo/Kiss the Girls and Make them Die" (dirs. Henry Livin and Arduino Maiuri, 1966) screening @ 7p. This was Dario's dad Salvatore's first producing credit, harbingering the nonstop wave of black-leather gloves, razorblades and surrealist camerawork that his son would christen horror cinema just a few years later. OK, so "Kiss the Girls…" is kinda weirdo sci-fi (like that several years of Dick Tracy's "Space Coupe" period) but I say go for it.

* Nguzunguzu @ 285 Kent Ave, Williamsburg (L to Bedford, JM to Marcy), 11:30p/$12. Cali cuties Nguzunguzu lead the sweat-inducement tonight, which also feat. Salva, Rezzie (of Weird Magic) and DJ MikeQ. I know you can dance, NYC!

* PJ Raval + Nick Brown @ Tiny Park / 607 1/2 Genard St. This combo exhibition feat. animation works from Austin filmmaker Raval and visceral, impastoed paintings by LA-based artist Brown.

* "Sound of Noise" (dirs. Ola Simonsson & Johannes Stjärne Nilsson, 2010) @ Alamo Drafthouse Ritz / 320 E Sixth St. Bonkers! A sleeper hit at 2010 Fantastic Fest, comparable to an anarchist, nattily dressed Blue Man Group enacting a "musical apocalypse" upon Malmö, Sweden! It's tons more fun than you can even imagine.

* "Eraserhead" (dir. David Lynch, 1977) midnight screening @ Alamo Drafthouse Ritz / 320 E Sixth St. You don't need to sleep, right? Lynch's quintessential midnight movie, starring quixotic Jack Nance as the titular sad-case bloke trudging amid a wet, ruined industrialscape, fielding requests from his girlfriend (and her freaky family) while pining for the Woman Across the Hall…and hallucinating and all that…yeah, it'll keep you up until dawn. ALSO SAT

* Etsuko Taniguchi "light" @ hpgrp Tokyo / B1F 5-1-15 Jingumae, Shibuya-ku (Chiyoda/Hanzomon/Ginza Lines to Omotesando Station). Taniguchi creates a disarming illumination in her nightlife cityscapes but cutting into lacquered canvases and then painting them over in acrylic.

* Terror Familia + Oh my God, you've gone @ Heaven's Door / 1-33-19 Sangen-jaya, Setagaya-ku (Den-en-toshi Line to Sangen-jaya Station), 7p/2300 yen. Tokyo-style grunge in two ace coed groups, particularly Terror Familia (composed of charismatic vocalist Diana Chiaki, plus members of Lillie and Remains and The John's Guerilla). w/ BALLOON88

* Peter Saul @ Mary Boone Gallery / 541 W 24th St. Who'dathunk Peter Saul—he of the acid-toned, hypnagogic-subject palette of The Hairy Who—would be getting all this buzz? Yet the grandmaster of bad taste agitprop had both a stunning solo at David Nolan Gallery in 2009 and a superb career survey at Haunch of Venison in 2010. Now Mary Boone showcases new paintings by the artist, who hasn't dialed down the lurid colors nor subject matter an ounce. Considering Occupy Wall Street and other contemporary excesses, Saul has a LOT to work with. Should be dope.

* Grimes @ Glasslands / 289 Kent Ave, Williamsburg (L to Bedford, JM to Marcy), 8:30p/SOLD OUT. Duh, I mean you put Claire Boucher, aka Montreal-based one-woman glitch-pop starlet Grimes, in über-DIY 285 Kent, you bet she'll draw crowds of punk-minded, groove-oriented youth just hankering to GET IT DOWN. Hence why it's been sold out for like ages. w/ Born Gold

* Widowspeak @ Death By Audio / 49 S. 2nd St, Williamsburg (L to Bedford, JM to Marcy), 8p/$7. Still the hottest deal in town for dope acts, and Captured Tracks' darklings Widowspeak make it extra-glamorous. w/ Massachusetts noise-pop act Eternal Summers and Bleeding Rainbow

* Conrad Bakker "Untitled Project: RECORD SHOP [45s] @ Lora Reynolds Gallery / 360 Nueces St. I visited Tokyo indie gallery eitoeiko during New City Art Fair in NYC and noted they were showing artist Masaru Aikawa, whose signature style includes hand-painting CD-sized squares of canvas to expertly replicate CD album covers, only in obviously painterly style. So I am intrigued by Bakker's take, painting LP covers on carved wood slabs that mimic album sleeves. Yeah, I'll take a spin at his "RECORD SHOP".

* Hisami Tanaka "NOSELF" @ waitingroom / 4B 2-8-11 Ebisu-nishi, Shibuya-ku (JR Yamanote Line/Hibiya Line to Ebisu Station, West Exit). New jagged mixed-media paintings and drawings by the Kanagawa-based artist, in his debut at the gallery. I saw a little preview of Tanaka's work at waitingroom's booth at New City Art Fair in NYC, and guess what: it's dope.

* Hitomi Motoki "The fantasy bedroom-Girl and Foretaste-" @ Gallery MOMO / 2F 6-2-6 Roppongi, Minato-ku (Hibiya/Toei Oedo Lines to Roppongi Station). Motoki conjures a dreamworld of absurdity and nostalgia in her figurative carved-wood sculpture and installation.

* 「海燕ホテルブルー」 (dir. Koji Wakamatsu, 2012) @ Theatre Shinjuku / 3-14-20 Shinjuku, Shinjuku-ku (Tokyo Metro Marunouchi/Fukutoshin/Shinjuku Lines to Shinjuku-sanchome Station). Wakamatsu's latest—an ex-con's retribution plan royally screwed up after he meets a young woman in a seaside town—actually debuted at NY's Japan Society a few weeks back.

* "Trollhunter" (dir. André Øvredal, 2010) @ Toho Cinema Hiho / 2-5-1 Yurakucho, Chiyoda-ku (Yurakucho Line to Yurakucho Station, Tokyo Metro Marunouchi/Hibiya/Ginza Lines to Ginza Station). This is how you do a found-footage film: a likable, bright-eyed cast and a grizzly, charismatic hunter taking down huge-ass trolls in the Scandinavian north, that's how!

* DORAVIDEO x Keiji Haino x Toshiji Mikawa (Incapacitants/Hijokaidan) @ Goodman / B1F 55 Kanda-Sakumagashi, Chiyoda-ku (JR Yamanote Line to Akihabara Station), 7p/3200 yen. Ah Mikawa-san, everybody's favorite banker by day just happens to be one of Japan's longest-reigning noise gods. That he teams w/ improv lord Haino and drummer/composer DORAVIDEO (Yoshimitsu Ichiraku) should be more than the series' titular "collaboration breakdown". Intense.

* "Funny Ha Ha" (dir. Andrew Bujalski, 2002) 10th anniversary @ Alamo Drafthouse Ritz / 320 E Sixth St, 7p. I'm just full of surprises! I think it's clear to frequent LIST-readers that my style of film leans toward the dark, violent, sexy, bloody, and overall genre-riffic. Yet I pull a big softie here for Bujalski's debut, the mumblecore ne plus ultra way before mumblecore was a "thing" to be loved and/or reviled. The unpretentiousness of his presentation, of likable cutie Marnie (Kate Dollenmayer) navigating friends and post-grad responsibility in Boston, is just disarming. Join Bujalski tonight for trip down that very special memory lane.

* Galaxy Express (Seoul) @ Mohawk / 912 Red River, 9p/$6. For better or worse, you say Korea and music in the same sentence, I'm thinking KPop: cute girl-groups with acid-tongued rappers and choreographed moves (and their boy kindred). Not so w/ Galaxy Express, a leather-clad, psych-rock middle finger to stylized, commercial radio. These dudes rock hard.

* CIRCUITRIP + ASTRO @ Flat / 3-17-2 Nishiogi-minami, Suginami-ku (JR Chuo Line to Nishi-ogikubo Station), 6:30p/1500 yen. "Noise as social skill" figures into Singapore sound-screwer CIRCUITRIP's ethos, who filter field sounds and big-city ambience into their washes of big noise. They share the night w/ psych-noise master Hiroshi Hasegawa (formerly CCCC, now ASTRO), who teams w/ ROHCO and Manuel Knapp as trio Cosmic Coincidence. w/ Jah Excretion and Goum

* "An Evening With Don Hertzfeldt" @ IFC Center / 323 Sixth Ave (ACE/BDFM to W 4th St), 7&9:30p. This was a singular night in Austin last year, a blissful 2+ hours with the indie animation god (and Sundance winner, and Oscar nominee) Don Hertzfeldt, who premiered the final chapter of his Bill trilogy "It's A Beautiful Day" in glorious 35mm, after screening parts one and two to a transfixed full house. Plus lots of lovely little bits throughout ("Wisdom Teeth", though not "Rejected"). NYC, you are lucky to have the man for two screenings, tonight AND Tuesday.

* "Shakma" (dirs. Tom Logan and Hugh Parks, 1990) screening @ Alamo Drafthouse Ritz / 320 E Sixth St, 10p. D&D freaks vs. a possessed baboon controlled by Roddy McDowall in this not-on-DVD "fatalityfest". What am I missing?

* The Generational: "The Ungovernables" @ New Museum / 235 Bowery (F to 2nd Ave, 6 to Spring St). Eungie Joo curated a superb iteration of the New Museum's Generational triennial. Stoked as I was for the 2009 inaugural, cheekily coined "Younger Than Jesus", it was so in-your-face that it left little deep meanings after I left the exhibition. Not so with "The Ungovernables", a panoply of 34 artists, groups and temporary collectives who are all about as young as Jesus and most have never exhibited "here" before. Here meaning in the U.S., so this is an awesome gaze into the greater art-making world, with its complicated cultural surroundings—take the artist-led initiative Invisible Borders Trans-African Photography Project for one, Tel Aviv-based performative research group Public Movement as another. Lebanese artist Hassan Khan's booming, swaying video installation "Jewel", of a dance-off b/w two Middle Eastern men; Mounira Al Solh's wall of figurative drawings executed in the guise of a male; and Jose Antonio Vega Macotela's temporal "Time Exchanges" with inmates each comment on identity and relation, as does Pilvi Takala's impassive takedown of a Helsinki office-space—and all this is on just the 2nd fl. Julia Dault's delicate rolled Plexi and Slavs & Tatars' "Prayway" rug with rice-burner fluorescents are some of the 3rd Fl's most eye-catching. And on the 4th fl, even the artists who have shown "here" bring a multifaceted experience of moving through contemporary society, like Danh Vo's "WE THE PEOPLE", a deconstructed part of the Statue of Liberty, fabricated with pounded copper sheets in China and installed like parts of a massive candy wrapper; or Londoner Lynette Yiadom-Boakye's haunting portraiture paintings of figures existing not in reality, though their enlivening gaze won't leave us alone. And there's Adrian Villar Rojas' much-buzzed modular behemoth "A person loved me", rendered on-site in fragile clay as artifact and beautiful artwork formed by minimal resources and expert teamwork. You'll want to excavate further, to really know these artists, their backgrounds and current concerns and approaches.

* Whitney Biennial @ Whitney Museum / 945 Madison Ave (6 to 77th St). My take-away thoughts from the 2012 iteration of the Whitney's unavoidably must-see biennial is "this is a very pretty, very safe show". If you reside in NYC, then you've got the advantage, as like 33% of the exhibiting artists contribute performances or films throughout the Biennial's several-month run. Which means those of us lot who can only see the show once will miss a cool third of what's good. We must rely on what's hanging on the walls, what's displayed over two and a half floors of Whitney, knowing well that we aren't getting the whole picture by any means. What IS there is very pretty, and creatively installed for the most part. Richard Hawkins' Francis Bacon-esque paintings recur on two walls of the 2nd fl, accompanying a Kai Althoff installation of paintings on a silk curtain bisecting the gallery and K8 Hardy's brutal prints of shoes and cropped figures. It's here that three of the strongest elements of the Biennial reside: LaToya Ruby Frazier's wonderful array of prints that address a Levis ad campaign that appropriated images of her hometown of Braddock, Pennsylvania; an intimate room of outsider artist Forrest Bess' paintings and life-story, curated by Robert Gober; and Werner Herzog's museum debut with the soul-stirring film "Heresay of the Soul". Andrew Masullo's small-scale, sunny abstract paintings brighten up the third floor, which adds a bit of creative impulse from Nick Mauss' installation "Concern, Crush, Desire". All in all, it's fine, totally, but if I hadn't encountered the Frazier (or the Herzog, really) I don't think I would have been moved nearly as deeply.

* John Chamberlain "Choices" @ Guggenheim / 1071 Fifth Ave (456 to 86th St). Moving Chamberlain's very new monolith "C'ESTZESTY", a finger of painted and chromium-plated steel and stainless soaring nearly 20 vertical feet, outside the Guggenheim proper was a wonderful decision, as this skyscraper dwarfed uncomfortably its previous occupation within the Gagosian's mammoth 24th St gallery space. Here it breathes, gleaming in the early-spring sunlight. It is one of many successful instances in a superb sendoff to the American sculptor, who passed away just months before this career retrospective opened to the public. Inside, Chamberlain's ginormous aluminum twist "SPHINXGRIN TWO" holds court in the rotunda, while battered and discolored works from decades' previous begin the exhilarating run up the Gugg's ramps. Some remarkable collages and reliefs mix with early masterpieces like "Hillbilly Galoot" (1960, a crouching red beetle) and "Miss Lucy Pink" (1962, like a rose rendered in steel). Small-scale auto-origami recurs as well, playing off the galvanized steel "Ultima Thule" and some curious, slippery mineral-coated polymer resin pieces. The human-scale array "The Devil and the Deep Blue Sea" (like Picasso's "Musicians" re-imagined as Transformers) and the soda-straws of "Whirled Peas" (1991) prepare our eyes for the final thrust, Chamberlain's drive into chrome-love (which figured into that Gagosian show and his very last works), but the shiny shavings atop "HAWKFLIESAGAIN" (2010), with its mottled old-school base, tie the whole experience together.

* Roy Lichtenstein "Landscapes in the Chinese Style" @ Gagosian / 555 W 24th St. I wasn't in town for the blessedly polarizing spectacle that was Damien Hirst's dots, but I love the chilled-out vibe emanating from Lichtenstein's minimalist, pastel-toned landscapes. They feature a bunch of atypical Lichtenstein-ian elements—a horizontal smear of grey-blue paint in "Small Landscape"; sponged-on foliage in "Landscape with Scholar's Rock"—that echo the traditional Chinese style. There is very little Pop here, and the vertical scroll-like "Landscape with Cliff" almost does away with Lichtenstein's signature Benday dots altogether. I'm not complaining here: these are lovely paintings, and like the aforementioned "Scholar's Rock" (whose meandering gauzy white conveys more physicality and emotion than the artist's more famous comic-inspired works) inspire deep contemplation.

* Georg Baselitz @ Gagosian / 522 W 21st St. The superlative German artist revisits aspects of his own history, but in paintings larger than he's ever created before: huge figures painted in bold colors against a shifting, constrast-y backdrop. Baselitz adds a rough-hewn wood and bronze-cast sculpture to this exhibition of new works, but my eyes were locked alone on those massive paintings, with their electric, Egon Schiele-like emotive personalities.

* Fred Sandback "Decades" @ David Zwirner / 519 W 19th St. A really fine survey of Sandback's long career of spatial interventions spanning three decades of work. His "Untitled (Sculptural Study, Four-part Mikado Construction)" features four aqua acrylic yarns zigzagging across half the front gallery, while the Kerf-cut Plexiglas "Untitled" emulates his linear sculptures while remaining fully 2D. The even crazier "16 Variations of 2 Diagonal Lines" explores front and back galleries with opposing pinkie-thick bands of yellow yarn, boring through walls and careening through diagonal space. An artist's book and selection of drawings fill out the show.

* "I Know This But You Feel Different", curated by Shara Hughes and Meredith James @ Marc Jancou Contemporary / 524 W 24th St. A pretty superb group show inspiring dialogue on interior spaces. Hughes' own large painting "My Head's Really Not In This" locks the whole idea together as she contorts and flattens multi-planar space with gusto, pairing the experience with a vivid color palette. But there's much other awesomeness as well, beginning with Hughes' oil-on-paper drawings and extending to highly textural oil on linen paintings by Clare Grill and a nook installation by Miles Huston and Jacques Louis Vidal. Jesse Greenberg's visceral homemade objects and Jacob Robichaux's deconstructed remnants keep the show's tone loose and compelling.

* Alex Gross "Product Placement" @ Jonathan LeVine Gallery / 529 W 20th St 9th Fl. LA artist Gross' lush painterly style is kind of like Jim Rosenquist (or Richard Hamilton) for a decidedly 21st C. world, a globe-flattening blend of posh designer labels, a polyglot of languages on adverts, exotic critters and nondescript environments. It's a foreshortened world thrust continuously into hyperdrive, Asia, America and the Middle East coalescing into one postmodern hybrid. Snake-eyed citizens from earlier series now bear reptiles for heads, like the Komodo Dragon in a Mr. Rogers cardigan tempting a PYT with a Coca-Cola in "Original Sin". Or people get their faces pixellated a la Japanese porn in "Best Friends (7-Eleven)" and "The Lover". Gross' super-saturated palette is in full effect here, but his combinations of people and adverts is his most naturalistic they're meant to be together. A grouping of Gross' manipulated cabinet card series (particularly chi-chi superheroes and monsters) accompany the big canvases.

* Mounir Fatmi "Oriental Accident" @ Lombard-Freid Projects / 518 W 19th St. Exhibition as noise show, Fatmi's second solo at the gallery is INTENSE. He pairs recordings from Maghreb during the Arab Spring in speakers sprinkled with nails and embedded into a Persian rug. Sonic squalls recur in "Modern times, a History of the Machine", a video projection in the side gallery that morphs Arabic calligraphy into a kinetic Duchamp-ian affair. Even Fatmi's static pieces threaten to attack, whether bas-reliefs of the number zero composed of coaxial antenna cables or lace loops drenched in oily black paint.

* Douglas Huebler "Crocodile Tears" @ Paula Cooper Gallery / 521 W 21st St. I went into this sorta Existentialist show from the Estate of Huebler knowing little about the man except that he paired text and images with panache. I left with a solid appreciation of his "Variable Piece"—a project to "photographically document the existence of everyone alive"—that slid between conceptual reconfigurations of Magritte, Cézanne, Gauguin and Mondrian with photography and Huebler's own text.

* Not Vital @ Sperone Westwater / 257 Bowery. A shimmering stainless steel monolith extending two vertical floors of gallery space, called "Tongue". An array of Chinese coal mini-mountains. Disarmingly organic plaster forms hanging off stainless steel rods, called "Hanging & Weighting". A solid 18-Karat gold Peking duck hanging in the lift. Such is the Swiss sculptor's latest exhibition, fashioned in his Beijing studio to creep us out.

* Will Ryman @ Paul Kasmin Gallery / 293 10th Ave + W 27th St. I expected something big and bold from Ryman in his debut at the gallery but had to wonder: he's been filling his previous gallery, Marlborough Chelsea, which is like eight times bigger (plus open-airs Park Ave w/ those big-ass flowers), so would he run out of room at Kasmin? No fear, he makes it work, wrapping the front room w/ the hunched form of his sad-sack everyman, comprised evidently of bottle-cap limbs, melted shoes for a body and like miles of denim for his trousers. In the back, Ryman erected a labyrinth of wooden brushes that could be a frottage fanatic's wet dream.

* Paul Graham "The Present" @ The Pace Gallery / 545 W 22nd St. Pace debuts the NY-based British photographer's latest body of work, his first exhibition in the States since 2009. "The Present" includes diptych and triptych photographic works, highlighting serendipitous moments of a city constantly in motion. A new monograph, published by MACK, accompanies the exhibition.

* Marlo Pascual @ Casey Kaplan Gallery / 525 W 21st St. A much subtler show from Pascual than I'd expected, less situations of warped C-prints and situational lighting than easy, cerebral gestures, like turning a print sideways so the waterfall flows horizontally, or hewing a rocky backdrop with a woman's limbs in two and recomposing it to delete most of her figure.

* Adia Millett "Portraits of an Escape" @ Mixed Greens / 531 W 26th St. The Oakland-based artist revisits her old photographs of sculptural interiors, flipping them inside-out as new 2D façades. Her colorful architectural style holds a lot of personality, too, which is intentional as each structure reflects a portrait of someone in Millett's life.

* Marijke van Warmerdam "Haru" @ Taka Ishii Gallery / 5F 1-3-2 Kiyosumi, Koto-ku (Hanzomon/Oedo Lines to Kiyosumi-shirakawa Station). The Amsterdam-based artist presents a series of paintings based on film stills printed on canvas, like frozen moments.

* Ai Udagawa "Sign" @ Kido Press, Inc / 6F 1-3-2 Kiyosumi, Koto-ku (Hanzomon/Toei Oedo Lines to Kiyosumi-shirakawa Station). Udagawa typically incorporates embroidery into her mesmerizing, naturalistic acrylic and mixed-media paintings.

* Toshiaki Hikosaka + Takuro Sugiyama "Dead Paintings" @ Radium / 2-5-17 Bakurocho, Chuo-ku (JR Yamanote Line to Bakurocho Station). The two young artists present their own unique styles of abstraction, Hikosaka's systemic grids and Sugiyama's intertwined colors and planes. (ENDS SAT)

* Shoji Ueda "Mode in Dunes" @ Taka Ishii Photography / 2F 6-6-9 Roppongi, Minato-ku (Hibiya/Oedo Lines to Roppongi Station). Ueda fuses fashion photography with Rene Magritte-style surrealism in this classic series of prints in the desert. (ENDS TUES)