What Pipeline at Paris Internationale

Mary Ann Aitken
Will Benedict
Henning Bohl
Bailey Scieszka
Dylan Spaysky

October 19 - 23, 2016
VIP Preview October 18, 6-9 PM

Bailey Scieszka performs October 19 on the Grand Staircase. Performance times TBA.

Paris Internationale
51 Avenue d'Iéna
75116 Paris
What Pipeline presents new work by Henning Bohl in a guest appearance at
Balice Hertling

Henning Bohl
Knot Guy II

October 16 - November 3, 2016
Opening Sunday, October 16, 6-9 PM

Press Release

Use the magnifying glass to find him, “Knot guy,” wishes for control, he wishes the world to be rational and organized, his wish, deep down, is that the world be sensible. Not being so, he rails against this. The knots being so, he asserts authority over them, his realm he seeks to control some small portion of, a symptom of most overly authoritative blogs on aesthetics. The inconsolable arbitrariness of the world is a scary cosmic horror, thus knot guy assuredly does not like the vast abyss of non-meaning that Bohl has been politely skipping across falling into for some time now. Bohl is the indeterminate horror that knot guy fears, of the possibility of arbitrariness, inconsequence. (This is why conservatism, tradition, fear-mongering and religion all go hand-in-hand.) Fearing a world where meanings and distinctions slip, erode and are horribly abused in dark concrete cells called studios.
- http://www.artwritingdaily.com/2015/12/henning-bohl-at-what-pipeline.html

Balice Hertling
45 rue Ramponeau
75020 Paris

On view at What Pipeline, Detroit

Mary Ann Aitken
September 23 - November 5, 2016

Press Release

What Pipeline is honored to present a selection of previously unshown works by Mary Ann Aitken.

Mary Ann Aitken (b. 1960, Detroit, d. 2012, Brooklyn) was for thirty years a prolific artist whose output included painting, drawing, and impastoed assemblages. During the late 1980s she often painted everyday scenes including the view of Downtown Detroit as seen through the windows of her studio at the Cary Building, and objects at her parents' house in the University District of Detroit. Cropped into 48x48 and 24x24 inch squares, these paintings elude being labelled landscapes or still lives; anticipating Aitken's later interest in photography, they evoke the snapshot moment of a Polaroid square. Viewed through contemporary eyes (which might relate them to the cropping of an Instagram post) they escape their original, now decades-old time period and click effortlessly into our post-digital perspective. Yet what may appear effortless in Aitken's work never was; she spent ample time realizing each work. Her dedication to her vision, largely conceived and contemplated behind private studio doors, will continue to engage audiences well beyond her, and our, lifespans.

(Photo by Tim Thayer)