|
NA LISTI Od 04.8.2010.g. /
LISTED SINCE August 4th, 2010 among leading European magazines:  |
All Rights Reserved
Publisher online and owner: Sabahudin Hadžialić, MSc Sarajevo & Bugojno, Bosnia and Herzegovina MI OBJEDINJUJEMO RAZLIČITOSTI... WE ARE UNIFYING DIVERSITIES |
 |
Narudžba knjiga / Purchasing of the books / Bücher bestellen
|
|
|
|
....
|
DIOGEN pro culture magazine presents you / DIOGEN pro kultura magazin vam predstavlja
Exhibitions worldwide / Izložbe širom svijeta
2013.
19.9.2013.
Galerie Stefan Röpke, Cologne
Johnen Galerie, Berlin
Mark Moore Gallery, Los Angeles
Andrew Rafacz Gallery, Chicago
GALERIE STEFAN RÖPKE, Cologne
Bernardí Roig
"Practice to suck the light (drawing I)", 2013
charcoal on paper / Kohle auf Papier
39,4 x 27,6 inches / 100 x 70 cm
Courtesy of the artist and Galerie Stefan Röpke, Cologne
BERNARDI ROIG
PRACTICES TO SMELL THE LIGHT September 6 – October 12, 2013 Galerie Stefan Röpke is pleased to present Practices to Smell the Light, its third solo exhibition of works by the Spanish artist Bernardí Roig, September 6 – October 12, 2013. The exhibition includes a collection of works (sculptures and drawings) created this past year, wherein the artist reflects, through his particular store of images, on representation, misunderstanding, repetition, amputation of memory, excess of light, lack of communication, the untranslatable and the anguish of influences. The tenor of the exhibition is set by a life-size figure, blocked in with his hands tied behind his back, trying, like a symbol of a singular purpose, to lick a light bulb and to energize the empty space around the spectator's body. Another smaller figure, in a desperate attempt to smell the light, is crushed by a cascade of fluorescent light. There no longer is a place for the image to adapt to the eye, everything rushes towards an internal abyss. Since the end of the 80's, Bernardí Roig has been unfolding the disturbing experience of obsession. On occasion, his works have a reflective quality, trapping and deforming our image or placing us on the other side of a theatrical scene waiting for its characters. The scene is always difficult, frozen or pierced by an artificial light. All the work developed by Bernardí Roig over these years has been produced in the shadow of two questions that are essential to him: how to deal with inherited iconographic repertoires and how to continue to create a persistent image, an image that hurls us towards a psychic precipice, in a world overflowing with images. His work, greatly influenced by literature and cinema, follows a path marked by the narrative and a theatrical approach to space. The exhibition aims to formulate a reflection on the nature of collective perceptions in an era strongly marked by the domination of the media and the virtual world, which, with the overload of hyper-codified messages, surpasses the individual's threshold of endurance. The endless flow of media signals has established the supremacy of language over the authenticity of experience and, with an excess of information, has hidden that which by its very nature cannot be spoken: the primary drive that inhabits the very basis of awareness. If reason is the expression of language, then pantomime is the expression of the body. "What does light smell of?" asks Bernardí Roig. And that idea pounds over and over in his brain, torturing him. We can conceal our unease because we know that light only smells of the thoughts that sight can trap and that darkness can lie about, but it doesn't smell of anything. Or so we think... It is known that flies can smell light, because they are capable of decoding and processing electric signals that are interpreted by some ganglion in their little brains. For a fly, not for us, smell is registered by the polarization of its olfactory neurons which in turn depends on the detection of a volatile molecule by some receptor in its membranes. But we are not yet flies. Bernardi Roig lives and works in Palma de Mallorca, Spain. He has received numerous honors and awards including the XXXVII Princess Grace Contemporary Art Foundation Award, Monaco (2003); the Official XXI Alexandria Biennial Award, Egypt (2002); the Pilar Juncosa and Sotheby's Special Award, Pilar and Joan Miró Majorca Foundation (1997) and the XXI International Biennial of Graphic Arts Official Award, Ljubljana, Slovenia (1995), among others. His work has been the subject of numberous solo-exhibitions in prestigious institutions around the world, including Da2 Salamanca, Kunstmuseum Bonn, Kampa Museum Prague, PMMK Oostende Belgium, and the Museum Carlo Bilotti de Villaborghese Rome, among others. His work has also been included in numerous notable group exhibtions including three in conjunction with the 54th Bienal de Venezia; 'Shadows Must Dance" at Ca'Pesaro Galleria Internazionale d'Arte Moderna de Venezia, "Glasstress" in the Palazzo Franchetti, and "TRA- Edge of becoming" in the Palazzo Fortuny. Roig's work can be found in numerous museum and institution collections including the Fundación Miro de Palma de Mallorca, the CCCB Barcelona, the Musee de Beaux Arts de Bruxelles BOZAR, La Tecla Sala Barcelona, the Zhu Qizham Museum de Shanghai, The Alburquerque Museum of Art in New Mexico, La Fundacion Telefonica Madrid, and Palazzo Isimbardi Milán, among many others. Please feel free to contact the gallery for more information and images of works in the exhibition. GALERIE STEFAN RÖPKE St. Apern-Strasse 17-21 50667 Cologne Germany T: +49 022125 55 59 GALERIE STEFAN RÖPKE ANDREW RAFACZ GALLERY, Chicago
Wendy White
Le Dio Una Leña, 2013
acrylic on canvas, wood, enamel
98.5 in x 76.5 in
Courtesy of the artist and Andrew Rafacz Gallery, Chicago
WENDY WHITE
Pick Up a Knock 20 September - 2 November 2013 ANDREW RAFACZ opens the fall 2013 season with Pick Up a Knock, new works by Wendy White. This is the artist's second solo exhibition with the gallery. It continues through Saturday, November 2, 2013. Please note we will open with an artist's reception on friday, September 20 6-8pm. Furthering her concept of the Sports Moment and addressing specifically the inclination in professional soccer toward "flopping," Wendy White has created an installation of 5 single canvas paintings and 4 large-scale inkjet printed photographs on vinyl. The painting installation is completed with wall-to-wall white Astroturf installed on the gallery's floor. Flopping, or as Spanish-speaking countries refer to it, clavado (literally meaning nailed), is a strategy used to trick the referee into calling a foul. While other participating countries have long accepted this regular occurrence, Americans have long been reticent towards such a strategy, as it defines them as the underdog and is a sign of weakness. Our longstanding global position as one of power and winning is antithetical to the idea of failing as a means towards success. It has become so ubiquitous in the game that an aerosol pain medication, often referred to as Magic Spray, is now widely. When a player flops, trainers rush out and spray them, then they return to the game as if nothing happened. In counterpoint, White investigates the history of her own gym in the Chinatown neighborhood of NYC, where numerous older patrons work out on broken equipment. The building housing the gym was raided a year ago for illegal gambling and fake doctors prescribing medicine without a license. The location is 35-37 E. Broadway, the same street where the first aerosol pain medication was invented in the 1860s, at the height of the E. Broadway gang activity. Dominic Molon, from his essay "In Praise of Gamesmanship" published in the exhibition's accompanying catalogue: One of Oscar Wilde's most celebrated quotes is often paraphrased as: "Deceiving others. That is what the world calls a romance," revealing as much of the Irish writer's thinking on love as it does on his interest in the virtues of artifice and masks in art. Wendy White's work does not necessarily center on the notion of deception, per se, although like much work of and since the modern and post-modern eras, it encrypts layers of codes and meanings through a combination of abstract forms and textual elements. Her work suggests a clavado prospect of its own, prompting the viewer to untangle interconnections between different phenomena—references, mostly in Spanish, to soccer, aerosol, dates, and addresses - much like the referee sorting out the truth or fiction of a player's tumble onto the pitch. WENDY WHITE (American, b. 1971) lives and works in New York City. She received her M.F.A. from Rutgers University in 2003. Wendy White has had solo exhibitions at Andrew Rafacz Gallery, Chicago, IL; Leo Koenig Inc., New York, NY; Galeria Moriarty, Madrid, Spain; Van Horn, Düsseldorf, Germany; Maruani & Noirhomme, Brussels, Belgium; and University of Tennessee, Chattanooga. Her group exhibitions include Sotheby's S|2, Harris Lieberman, Nicole Klagsbrun, Fredericks & Freiser (all New York, NY); CCA Andratx, Mallorca, Spain; Bemis Center for Contemporary Arts, Omaha, Nebraska; Kunstverein Rosa-Luxemburg-Platz, Berlin, Germany; Motus Fort, Tokyo, Japan; Aschenbach & Hofland, Amsterdam, NL; and Indianapolis Museum of Contemporary Art, Indianapolis, Indiana, USA. White is featured in Phaidon's anthology Vitamin P2: New Perspectives in Painting. Her work is currently on view in After Hours 2: Murals on the Bowery, sponsored by The New Museum and Art Production Fund. This is her second solo exhibition with the gallery. A catalogue, with an essay by Dominic Molon, accompanies the exhibition. ANDREW RAFACZ also opens the fall 2013 season with A Claw for an Eye, new sculpture, collage, painting, and installation by Pepe Mar. This is the artist's first solo exhibition with the gallery. ANDREW RAFACZ GALLERY 835 W. Washington 2nd Floor Chicago, IL 60607 T: (312) 404.9188 ANDREW RAFACZ GALLERY |
JOHNEN GALERIE, Berlin
Liu Ye
Bauhaus, 2013
acrylic on canvas
15 x 19 cm - 5.9 x 7.5 in.
Courtesy of the artist and Johnen Galerie, Berlin
LIU YE
18 September - 2 November 2013 Liu Ye (born in 1964 in Bejing) is one of the most important Chinese painters of his generation. In contrast to his contemporaries, his atmospheric paintings are based mainly on his knowledge of the tradition of European painting from Romanticism through Biedermeier to Modernism. Therefore Liu Ye's visual cosmos is filled with protagonists of European cultural history: Hans-Christian Andersen, Piet Mondrian, Balthus, and again and again Miffy, a legendary figure from children's books, conceived by Dutchman Dick Bruna in 1955. His paintings form a unique synthesis of Chinese culture and European painting, weaving together fairytales, erotic fantasies, and an admiration of the purity of Bauhaus and De Stijl. But at the same time his paintings and their time-consuming process of creation remain always deeply connected to the notions of contemplation typical of Chinese painting. Abstract and figurative elements no longer seem like contradictory poles. Fairytale-like and seemingly idyllic depictions encounter motifs that only appear to be naïve. In some of his most recent paintings, for example, we see crayons and colouring sheets for children. This results in an ingenious play between a naïve subject and the subtly executed painting. And the two paintings in the exhibition that are devoted to the history of the Bauhaus style – a first for Liu Ye – oscillate between a monochrome plane and a three-dimensional object. His paintings derive their power and meaning from the tension of alleged opposites, which are brought into harmony. In this way, Liu Ye points to the Asian roots of his thinking as an artist. This exhibition by Liu Ye, who studied at Hochschule der Künste in Berlin and the Rijksakademie in Amsterdam, presents new works, among them for the first time those devoted to Bauhaus. Liu Ye lives and works in Beijing. Johnen Galerie Marienstrasse 10 10117 Berlin Germany T: +49 30 27 58 30 30 JOHNEN GALERIE MARK MOORE GALLERY, Los Angeles
Feodor Voronov
Double-fold, 2013
acrylic, marker, ballpoint pen and spray paint on canvas
41 x 30 inches
Courtesy of the artist and Mark Moore Gallery, Los Angeles
FEODOR VORONOV
RELICS Project Room: Lester Monzon September 14th - October 12, 2013 Mark Moore Gallery announces "Relics," the first solo show in the main gallery by LA-based painter,Feodor Voronov. A derivation from his trademark Word Paintings - first shown in the Project Room in 2012 – Voronov's newest works feature his emblematically bold color palette and obsessive mark making techniques, but stem from new source material. His vibrant abstractions of words and letters become monuments to his visual thought process and interest in the interconnectivity of language, thus acting as literal and figurative Relics of his practice. In establishing his painterly exploration of the socially explicit and implied perceptions of a word, Voronov has visually conceptualized the idiosyncrasies, structure, and comprehension of human communication. Each canvas features an object-like knot of fine ballpoint pen lines, gestural swaths of spray paint, and whimsical bands of marker ink floating within a raw canvas womb, as if illustrating the intricate nature of language's evolution. Voronov's seemingly organic marks co-exist alongside regimented patterns, thus emphasizing the respectively colloquial and formal aspects to our daily parlance. Though he has been working from a single list of vocabulary words for nearly three years, Voronov has now turned his attention to their amassed combination and composition, likening syntax to the analytical configuration of imagery. Inspired by John Chamberlain's 2012 retrospective at the Guggenheim, Voronov drew from the amalgamations of his metal sculptures, impressed by their feigned weightlessness despite their "hulking masses and multitudes of fractured and jumbled planes." Much like Voronov's own work, these assemblages gave material formality to the tensions, balance, and anatomy of composition, be it physical or intellectual. Stemming from this idea, Voronov's Relics reference terms and phrases from a long, rambling paragraph he calls his "piggy bank" – an autobiographical stream of consciousness – that allows for the advanced entanglements competing focal points. More than ever, the viewer will find evolving entry points and altered senses of perspective in Voronov's paintings, analogous to the individualized way in which we converse. Feodor Voronov (b. 1980, St. Petersburg) received his MFA from Claremont University (CA) in 2008, and has shown at Joshua Liner Gallery (NY), Laguna Art Museum (CA), and Concrete Walls (CA). His work is included in the permanent collections of the Santa Barbara Art Museum (CA), Museum of Contemporary Art, San Diego (CA), Colleccion Jimenez-Colon (Puerto Rico), and the Frederick R. Weisman Founation Collection (CA). The recipient of the 2008 Hernandez Fellowship, and the 2007 Claremont Graduate University Fellowship, he lives and works in Los Angeles. Concurrently in the Project Room, Mark Moore Gallery presents "New Work," the gallery's first solo exhibition by LA-based painter Lester Monzon. An ambitious display of nearly thirty new works, Monzon debuts his trademark tongue-in-cheek meditations on artistic taxonomy with alluring new compositions and timely critiques. Since the war between "fine art" and "design" broke out - a distinction increasingly diminishing in the advent of accessible technology - context has been the dividing faction between the two designations. Through his intimate canvases, Lester Monzon acts as an analog commentator on this quarrel, and poses the question of whether or not such denotations are truly relevant or purposeful in art making. Historically, Monzon's colorful gesticulations conceal sections of rigid patterning, a tête-à-tête between so-called "abstract expressionism" and "hard-edge abstraction" that implies a gentle lampooning of the taxonomic tradition behind art "movements." Monzon upends the formalism and segregation innate to the fine art world, and fabricates a composite genealogy of painting - a pithy resolution to an otherwise vapid debate. Monzon's luscious brushstrokes slyly creep into a Hirst-esque field of dots or Noland-like plane of stripes, like the resurrection of a once-declared dead practice through a satirical hand. In this show, Monzon applies this critique of contextual art practices and assimilation to mark-making in public spaces; be it graffiti on tiles in a public bathroom, stains on the sidewalk, or the popularized notion of "street art." In questioning the validity of one set of forms and social framing over the other, Monzon facilitates a larger dialogue about the dissemination of status, and the dominant voices of endorsement. Monzon (b. 1973, Brooklyn) received his M.F.A. from Art Center College of Design (CA). His work has been exhibited at the Wignall Museum of Contemporary Art (CA), in addition to shows in San Francisco, Chicago, and Los Angeles. The artist lives and works in Los Angeles (CA). MARK MOORE GALLERY 5790 Washington Boulevard Culver City Los Angeles, CA 90232 T: 1 310 453 3031 MARK MOORE GALLERY 
|
17.9.2013.
Exciting new gallery launches in Maida Vale London, UK
Thomas and Paul
20 Bristol Gardens
London W9 2JQ
020 7289 6200
Open Tuesday to Friday 10 am to 6pm and Saturday 11am to 3pm
www.thomasandpaul.com
Thomas and Paul Contemporary art gallery in Little Venice, Maida Vale had their official launch opening night last Thursday. The opening exhibition ‘Prelude’ features highlights from some of the artists that they will be working with in the gallery over the next 12 months. Artists include Andrew Crane, Maria Kuipers, Lance Hewison and David Storey. This exhibition will run until the 28th September.
The gallery provides a relaxed and contemplative environment for art; set over three different rooms, including a reading room of art books, magazines and free coffee. The owners have created an art gallery that offers intelligence and soul for visitors.
In October the gallery will be hosting an exhibition titled 'An Abstract View' and simultaneously launching a publication, also titled 'An Abstract View' by art writer and critic Richard Unwin. The publication looks at the history and value of abstract art along with interviews from abstract artists who will be participating in the exhibition; including recent Pollock Krasner award winning artist Helen Booth. The exhibition and book will be of interest to those who love abstract art as well as providing an opening for those who have yet to fully appreciate the breadth of abstract art and wish to learn more.
Copies of the book will be available at the private view evening on 3rd October.
See www.thomasandpaul.com for details.
The gallery provides a relaxed and contemplative environment for art; set over three different rooms, including a reading room of art books, magazines and free coffee. The owners have created an art gallery that offers intelligence and soul for visitors.
In October the gallery will be hosting an exhibition titled 'An Abstract View' and simultaneously launching a publication, also titled 'An Abstract View' by art writer and critic Richard Unwin. The publication looks at the history and value of abstract art along with interviews from abstract artists who will be participating in the exhibition; including recent Pollock Krasner award winning artist Helen Booth. The exhibition and book will be of interest to those who love abstract art as well as providing an opening for those who have yet to fully appreciate the breadth of abstract art and wish to learn more.
Copies of the book will be available at the private view evening on 3rd October.
See www.thomasandpaul.com for details.
JOHN STARK
FIELD WORK
20th September - 29th October 2013
EDWARD CUTLER GALLERY
Via Dell'Orso 12, 20121 Milano, Italia
+39 02 39 831 032
[email protected]
www.edwardcutler.com
"The real, the unique misfortune: to see the light of day"
- E. M. Cioran The Trouble with Being Born
Endeavouring to define reality in an age where truth remains ever more obscured Stark attempts to renegotiate the relationship between the self and the world and in doing so investigates both the modality of the visual and the epistemologies of both science and spirituality. The result is a neo-tantric distillation both ontic and shamanic, a creative exploration of human meaning and of the shadows nature casts upon it.
The settings and figures within Field Work are partly based on real experience, mostly in South Korea and in particular in an area known as Yeongyang within which is Ilwol-san - The Haunted Mountain. It is said the ghost of Hwang-ssi-buin; who fled to the mountain to commit suicide after being badly mistreated by her husband and family, brings misfortune to the greedy, dishonest and abusive and fortune to those who are sincere, kind and benevolent. People found that if they built shrines to console her rage and sorrow their prayers where mysteriously answered.
Sharing the territory with certain covert factions of the military; this part of Korea is also one of the last redoubts of Shamanism ("Mudang"), once the most widespread national religion but today reduced to a taboo and stigmatised as superstition. Consequently this has led to its periodical suppression but also paradoxically ensured its survival throughout history. Nonetheless, shamanic ritual is still considered by many Koreans to be the only resort when seeking answers and respite from ruinous life crises relating to illness, death or financial distress, with some medical anthropologists placing its practice firmly within the realms of traditional medicine.
The paintings presented in Field Work express diverse methodologies, often veiling a secret light or a vital heat that remains just out of view. The Garden presents us with a rocky enclave that houses an apiary, drawing parallels between shamanic practices and the craft of beekeeping. Interior View places the viewer within a makeshift ascetic hut constructed from cheap materials: scaffolding, a tin roof, plastic sheeting and window boxes become shrines, with candles flickering within. A spirited utilitarianism pervades and a sublime light permeates the stillness of the dark space. Elsewhere in this shadowy world, figures toil at their daily practice and the remnants of rituals are descried; a Dying Fire, an Elixir and an Outstanding Stone. This uncanny sense of place is at once realistic and fantastic, familiar yet foreign and speaks of a synchromystic coalescence of ancient and modern, empirical knowledge and silent intuition, witchcraft, warcraft and the workaday.
The pursuit of truth through the creation, or perception of these works leads us towards an experience of the true meaning of occult: that which is clandestine, recondite, and perhaps inherently unknowable. Here, within foreign lands, Stark becomes the foreigner offering us images that operate between immersion and reinterpretation, fragmentation and the whole, and which ultimately confront the apparent self with the necessity of its dependence upon the vertiginously unfathomable.
John Stark was born in the United Kingdom in 1979. He studied at the University of West England, Bristol, from 1998 to 2001 and then Royal Academy Schools, London, from 2001 to 2004. Stark has exhibited internationally in Amsterdam, Berlin, Dublin, Klaipeda, Lausanne, Paris, London, New York, Los Angeles, Miami, Washington DC, Munich, Naples, Rome, Basel and Zurich, including Grieder Contemporary, Somerset House, Ana Cristea Gallery, John Hansard Gallery and Torrance Art Museum. Most recently, he has shown at Galeria Cadaques with The Chapman Brothers, Marcus Harvey, James White and others. He is represented by Charlie Smith London where he has regularly exhibited since 2006. Stark's work is featured in private collections globally.
- E. M. Cioran The Trouble with Being Born
Endeavouring to define reality in an age where truth remains ever more obscured Stark attempts to renegotiate the relationship between the self and the world and in doing so investigates both the modality of the visual and the epistemologies of both science and spirituality. The result is a neo-tantric distillation both ontic and shamanic, a creative exploration of human meaning and of the shadows nature casts upon it.
The settings and figures within Field Work are partly based on real experience, mostly in South Korea and in particular in an area known as Yeongyang within which is Ilwol-san - The Haunted Mountain. It is said the ghost of Hwang-ssi-buin; who fled to the mountain to commit suicide after being badly mistreated by her husband and family, brings misfortune to the greedy, dishonest and abusive and fortune to those who are sincere, kind and benevolent. People found that if they built shrines to console her rage and sorrow their prayers where mysteriously answered.
Sharing the territory with certain covert factions of the military; this part of Korea is also one of the last redoubts of Shamanism ("Mudang"), once the most widespread national religion but today reduced to a taboo and stigmatised as superstition. Consequently this has led to its periodical suppression but also paradoxically ensured its survival throughout history. Nonetheless, shamanic ritual is still considered by many Koreans to be the only resort when seeking answers and respite from ruinous life crises relating to illness, death or financial distress, with some medical anthropologists placing its practice firmly within the realms of traditional medicine.
The paintings presented in Field Work express diverse methodologies, often veiling a secret light or a vital heat that remains just out of view. The Garden presents us with a rocky enclave that houses an apiary, drawing parallels between shamanic practices and the craft of beekeeping. Interior View places the viewer within a makeshift ascetic hut constructed from cheap materials: scaffolding, a tin roof, plastic sheeting and window boxes become shrines, with candles flickering within. A spirited utilitarianism pervades and a sublime light permeates the stillness of the dark space. Elsewhere in this shadowy world, figures toil at their daily practice and the remnants of rituals are descried; a Dying Fire, an Elixir and an Outstanding Stone. This uncanny sense of place is at once realistic and fantastic, familiar yet foreign and speaks of a synchromystic coalescence of ancient and modern, empirical knowledge and silent intuition, witchcraft, warcraft and the workaday.
The pursuit of truth through the creation, or perception of these works leads us towards an experience of the true meaning of occult: that which is clandestine, recondite, and perhaps inherently unknowable. Here, within foreign lands, Stark becomes the foreigner offering us images that operate between immersion and reinterpretation, fragmentation and the whole, and which ultimately confront the apparent self with the necessity of its dependence upon the vertiginously unfathomable.
John Stark was born in the United Kingdom in 1979. He studied at the University of West England, Bristol, from 1998 to 2001 and then Royal Academy Schools, London, from 2001 to 2004. Stark has exhibited internationally in Amsterdam, Berlin, Dublin, Klaipeda, Lausanne, Paris, London, New York, Los Angeles, Miami, Washington DC, Munich, Naples, Rome, Basel and Zurich, including Grieder Contemporary, Somerset House, Ana Cristea Gallery, John Hansard Gallery and Torrance Art Museum. Most recently, he has shown at Galeria Cadaques with The Chapman Brothers, Marcus Harvey, James White and others. He is represented by Charlie Smith London where he has regularly exhibited since 2006. Stark's work is featured in private collections globally.
14.9.2013.
STANE JAGODIČ
Der Gläubiger des Lichts | The Believer of Light
Ausgewählte Werke aus den Jahren 1969 bis 1985
Wir möchten Sie herzlich zu unserer kommenden Ausstellungseröffnung STANE JAGODIČ: Der Gläubiger des Lichts einladen.
Eröffnung: Donnerstag, 19.09.2013, 19 Uhr
Ort: Galerie Photon, Ungargasse 30, 1030 Wien
Dauer: 20.9. – 9.11. 2013
STANE JAGODIČ, AUTHOR - DIOGEN pro culture magazine: http://www.diogenpro.com/stane-jagodich.html
Stane Jagodič (1943) ist ein slowenischer Maler, Fotograf, Karikaturist und Aphoristiker. Vor allem wurde er durch seine meist sozialkritischen und humorvollen Montagen, Assemblagen und Collagen bekannt sowie durch das Zusammenführen von Objekten, die als unvereinbar scheinen. Er war einer der Mitbegründer und inoffizielle Leiter der Gruppe Juni (Slowenisch: Grupa Junij), einer internationalen Kunstbewegung der 1970er Jahre (deren Teilnehmer_innen waren u.a. auch Joan Fontcuberta, Christo, Manfred Willmann und Valie Export). Ein kleiner Teil seiner Arbeiten wurde dem Wiener Publikum bereits im vergangenen Jahr in der Ausstellung der Gruppe Juni während das Festivals Monat der Fotografie präsentiert.
Öffnungszeiten:
Di. bis Fr. 12 - 18 Uhr
Sa. 11 - 14 Uhr
Öffnungszeiten:
Di. bis Fr. 12 - 18 Uhr
Sa. 11 - 14 Uhr
Das Projekt wird unterstützt von:
12.9.2013.
Kuckei + Kuckei, Berlin
Seventeen, London
Y Gallery, New York
Kuckei + Kuckei, Berlin
Jörn Vanhöfen
"Ford Street # 5782", 2012 (Detail)
C-Print
5-teilig, 60 x 70 cm und 24 x 29,2 cm
Courtesy of the artist and Kuckei + Kuckei, Berlin
JÖRN VANHÖFEN
Disturbia 30 August – 12 October 2013 Jörn Vanhöfen takes photos on the crisis: harbingers of a post-industrial age. The first works in theDisturbia series arose in the Northern states of the USA in Detroit and the surrounding area between 2008 and 2012. Others, taken in Egypt and India, for example, will follow. After the success of his series and book, Aftermath, Jörn Vanhöfen experimented, in his new series, with the classical photographic moment of the instant and a serial succession of pictures. With this conceptual approach, he is going beyond his previous works, which were very much geared to the individual picture. His latest works adopt a distinctly cinematic approach: an overall situation is accompanied by successive single images taken from different angles, in which each shot adds a further fragment to the scene. If we examine the individual works more closely, the situations begin to decipher themselves picture by picture (Indianapolis Ave Chicago # 2252), or come together piece by piece to form a greater whole (Michigan Ave Detroit # 2282). Individual pictures also appear in the Disturbia series, only this time they alternate with the cinematic sequences. The individual shots are of momentary character and stand alone. In Vanhöfen's eyes, the metaphorical power of these images is more important than any documentary evidence they might deliver. The title of the series is a neologism comprising the English expression to disturb = to disrupt, interrupt, upset and Suburbia = hinterlands, urban surroundings, a film by Penelope Speehris (1984). It also conveys some idea of the atmosphere in these works. In an area shaken by crises, with people forced out onto the periphery, and urban space left to omnipresent decline, Vanhöfen does not show urban centres alone, but fates. In the film sequences, the viewer follows the restless eye of the photographer, who constantly captures ever new aspects of the situation. In Ford Street # 5782, we find ourselves looking at a street corner: in front of a liquor store, someone is sitting on a metal crate in a display of defiant pride, their eyes attracted to a pair of bright green trousers: hands, formed by life. Suddenly, we become aware of the surrounding people: a man in a wheelchair riding unperturbed up and down the street; a couple goes off, holding hands. Silent observations that run like a thread through the entire series, reporting the daily struggle in the crisis. Jörn Vanhöfen was born in 1961. He lives in Berlin and Cape Town. He studied photography at the Folkwang School in Essen, before switching universities from West to East Germany in the midst of the political-social turbulence in December 1989. He was subsequently a master-class pupil at the Academy of Visual Arts in Leipzig. During the next two years, he held solo exhibitions at venues in Germany and Austria, including the Alfred-Erhardt Foundation in Berlin in 2014, and the FO.KU.S, Innsbruck. In 2015, he will be exhibiting at the Opelvillen Rüsselsheim, the VHS Photogalerie, Stuttgart, and the Museum Haus Ludwig, Saarlouis. Parallel to the exhibition at the Kuckei + Kuckei gallery, a book entitled Heimat Front will be appearing in a limited edition, with texts by Charles Simic and works by Jörn Vanhöfen, at the Reche Verlag publishing house. Kuckei + Kuckei Linienstr. 158 10115 Berlin Germany T: +49 30 883 43 54 Kuckei + Kuckei |
SEVENTEEN, London
Uriel Orlow
Paused Retrospect, 2012-13
27 colour slides, projection
Edition of 5
Detail
Courtesy of the artist and Seventeen, London
URIEL ORLOW
The Reconnaissance 5 September - 5 October 2013 A little known film by Pier Paolo Pasolini, Sopralluoghi in Palestina (Location Scouting in Palestine, 1963) shows the Italian director planning the filming of The Gospel According to St Matthew (1964). Pasolini was so disappointed by what he found or didn't find on the trip, that he decided to shoot the film about Jesus' life in Italy instead. Sopralluoghi became a making-of documentary of a film that was never made, at least not as planned. Pasolini's failed film serves as a conceptual and formal reference in Uriel Orlow's Unmade Film (2012-13) also set in Israel/Palestine. Fragmented into its constituent parts, it too is an impossible film; an expansive collection of audio-visual works that point to the structure of a film but never fully become one. Orlow's exhibition at Seventeen creates a suspension between the two ends of this ‘film': the recce and the closing credits. A sound work, Unmade Film: The Reconnaissance, orchestrates a conversation between Pasolini and Robert Smithson that might have taken place sometime between 1963 and 1967, somewhere between Palestine and New Jersey. Their conversation is spoken by three voices and evokes expectations and disappointments, conjures false futures and lingers on ruins in reverse. The backdrop for their exchange is a rudimentary set composed of images that span a continuum between photography and film: a wall-sized backdrop, photographs as props and a sequence of slides. Images of two ruins are mixed and connect past and present: a village in Palestine depopulated in 1948 and a deserted, contemporary Palestinian settlement. Unmade Film: The Closing Credits is a 16mm film that shows barely anything. Instead of a scroll of names, white dots appear and disappear on black leader, placeholders of the over 400 Palestinian villages depopulated in 1948. They don't draw a map and reveal nothing but themselves as stand-ins for names, histories and locations at the outer edges of memory and representation. "Uriel Orlow deliberately focuses on the potential interchangeability of researched historical sources and fabricated documents. In Unmade Film: The Reconnaissance we are confronted with ruins – not backlit, ivy-covered romantic ruins, nor the bombed-out, gutted ruins of a war, but with uninhabitable homes that are abandoned or that nobody has ever moved into. The images are from Lifta, an old Palestinian village on the outskirts of Jerusalem that was depopulated in 1948 and has remained uninhabited since, and also from around Ein Sinya, a new Palestinian settlement near Ramallah, the construction of which was halted by the State of Israel. The complete absence of human beings does not blind us to their history; on the contrary, it arouses curiosity about the silent story told by these derelict and unfinished buildings. In the confines of the installation, which interlocks images and language, these abandoned architectural fragments bear witness to the state of exile, to the inescapable, perpetual foreignness that Edward W. Said describes in Reflections on Exile and Other Essays (2000)." - Hans Rudolf Reust The work in the exhibition has been realised with the support of Al-Ma'mal Foundation for Contemporary Art, Jerusalem, Bergen Assembly and Pro Helvetia – Swiss Arts Council. SEVENTEEN 17 Kingsland Road London, E2 8AA T: +44 020 7729 5777 SEVENTEEN |
Y Gallery, New York
Andrea Galvani
Higgs Ocean #7, 2009/10
C-Print mounted on aluminum dibond
40.6 x 58 inches, Edition of 5 +3 AP
Courtesy of the artist and Y Gallery New York
ANDREA GALVANI / MATHIAS KESSLER
IN COLD BLOOD
curated by Cecilia Jurado
September 11 - October 6, 2013
Y Gallery is pleased to present In Cold Blood a selection of works by Italian artist, Andrea Galvani, and Austrian artist, Mathias Kessler curated by Cecilia Jurado. The two artists have traveled to the coldest confines of the planet where they confronted the overwhelming grandiosity of nature. For instance, by illuminating large parts of icy landscapes, they tried to conquer an otherwise unreachable place. Only to reveal how a journey as ambitious as these can solely manifest extraordinary attempts through significant works. Galvani has used photography for his project. We witness an existentialist trip charged with loneliness and fascination by discovery. Kessler has chosen digital renderings, photography and a mirror that melts and freezes while the spectator sees his/her image being reflected. This last work, the mirror, could synthesize the nerve of the exhibition. The seeking of truth in the vain of explorers of the past could be an introspective trip to unknown sides of our human condition.
In his Higgs Ocean series, Galvani programmed an excursion executed off the coast of the Svalbard Islands in the Arctic Circle. The project was developed with the assistance of a team of New York-based, Russian engineers over the course of a four-month period. Solar photovoltaic modules were used to collect the daily dosage of light energy produced by the sun over a 2,800 km sail. The amassed electricity was then used to power a flashlight generating a beam of light over 200,000 ANSI lumens, with strength enough to break through earth's atmosphere. The unimpeded light will travel infinitely in space, and thus, in the words of Galvani, "the luminescent memory of the journey had been returned to the universe."
Mathias Kessler's project entitled, Islands of Time, entailed the artist's travels to IIulissat, Greenland where the Jackobshaven Glacier meets water level, emerging as an archipelago of icebergs. Kessler photographed the quintessential landscape exposing the duality between our quest for the taintless environment and tarnish as a denouement of its discovery. The Sea of Ice is a 3D photorealistic rendering of a painting by the German-Romantic artist, Caspar David Friedrich. In relation to Kessler's breadth of work and the historical parameters surrounding Friedrich's painting, the context of this digitally conceived rendering questions the principles of a painting in times of cybernated manipulation and how fantasy can become reality via photographic representation. It Will Blow Over (Worldview of the Arctic) provides viewers with an increased corporeal association with the sensational elements experienced by the artist and his team while pursuing these projects. As the mirror continuously cycles through the process of melting and freezing at -22°F, the unbridled, crystallized patterns progressively evolve, similar to the never-ending changes in life, intrinsic to life's nature.
Andrea Galvani (b. in Italy 1973) lives and works in New York and Mexico City. Drawing from other disciplines and often assuming scientific methodologies, his conceptual research informs his use of photography, video, drawing, and installation. Galvani's work has been exhibited internationally, including at the Whitney Museum, New York, NY; 4th Moscow Biennale for Contemporary Art; the Mediations Biennale, Poznan, Poland; the Aperture Foundation, New York, NY; the Calder Foundation, New York; the Central Utah Art Center, Ephraim, UT; Mart Museum of Modern and Contemporary Art, Trento, Italy; Macro Museum, Rome, Italy; GAMeC, Bergamo, Italy; De Brakke Grond, Amsterdam, the Netherlands; Oslo Plads, Copenhagen, Denmark; and the Unicredit Pavillion, Bucharest, Romania. In 2011, he received the New York Exposure Prize and was nominated for the prestigious Deutsche Börse Photography Prize. Selected publications include: Flash Art, Art Forum, Art Papers, Art News, Modern Painters, The New Yorker, Tema Celeste, Around Photography, Herald Tribune, Boiler magazine, Title, Arte Critica and Zoom Magazine.
Mathias Kessler (b. in Austria 1968), has recently had solo exhibitions at the Rosphot National Museum for Photography in St. Petersburg, the GL Holtegaard Museum in Copenhagen, and at the Kunstraum Dornbrin in Austria. His most recent group exhibitions include "[UN]NATURAL LIMITS" at the Austrian Cultural Institute in New York, "Hohe Dosis" at the Fotohof & Atterseehalle in Salzburg, Austria, "The Nature of Disappearance" at the Marianne Boesky Gallery in New York, "Hoehenrausch II" at the Offenes Kunsthaus in Linz, Austria, "Point of Intersection Linz" at the Art Museum Linz, "GO NYC" at the Kunsthalle Krems in Austria, and "The Invention of Landscape" at the Museo del Palaxio de Bellas Artes in Mexico City. His work is included in the Cisneros Collection, the Landesmuseum Vorarlberg, the Nordico Landesmuseum Linz, and the Illwerke VKW Kunstsammlung. In 2009 he was awarded the prestigious Staatsstipendium fuer Fotografie award in Vienna.
Y Gallery
165 Orchard Street
New York, NY 11370
New York
T: +1 917 721 4539
Y Gallery
IN COLD BLOOD
curated by Cecilia Jurado
September 11 - October 6, 2013
Y Gallery is pleased to present In Cold Blood a selection of works by Italian artist, Andrea Galvani, and Austrian artist, Mathias Kessler curated by Cecilia Jurado. The two artists have traveled to the coldest confines of the planet where they confronted the overwhelming grandiosity of nature. For instance, by illuminating large parts of icy landscapes, they tried to conquer an otherwise unreachable place. Only to reveal how a journey as ambitious as these can solely manifest extraordinary attempts through significant works. Galvani has used photography for his project. We witness an existentialist trip charged with loneliness and fascination by discovery. Kessler has chosen digital renderings, photography and a mirror that melts and freezes while the spectator sees his/her image being reflected. This last work, the mirror, could synthesize the nerve of the exhibition. The seeking of truth in the vain of explorers of the past could be an introspective trip to unknown sides of our human condition.
In his Higgs Ocean series, Galvani programmed an excursion executed off the coast of the Svalbard Islands in the Arctic Circle. The project was developed with the assistance of a team of New York-based, Russian engineers over the course of a four-month period. Solar photovoltaic modules were used to collect the daily dosage of light energy produced by the sun over a 2,800 km sail. The amassed electricity was then used to power a flashlight generating a beam of light over 200,000 ANSI lumens, with strength enough to break through earth's atmosphere. The unimpeded light will travel infinitely in space, and thus, in the words of Galvani, "the luminescent memory of the journey had been returned to the universe."
Mathias Kessler's project entitled, Islands of Time, entailed the artist's travels to IIulissat, Greenland where the Jackobshaven Glacier meets water level, emerging as an archipelago of icebergs. Kessler photographed the quintessential landscape exposing the duality between our quest for the taintless environment and tarnish as a denouement of its discovery. The Sea of Ice is a 3D photorealistic rendering of a painting by the German-Romantic artist, Caspar David Friedrich. In relation to Kessler's breadth of work and the historical parameters surrounding Friedrich's painting, the context of this digitally conceived rendering questions the principles of a painting in times of cybernated manipulation and how fantasy can become reality via photographic representation. It Will Blow Over (Worldview of the Arctic) provides viewers with an increased corporeal association with the sensational elements experienced by the artist and his team while pursuing these projects. As the mirror continuously cycles through the process of melting and freezing at -22°F, the unbridled, crystallized patterns progressively evolve, similar to the never-ending changes in life, intrinsic to life's nature.
Andrea Galvani (b. in Italy 1973) lives and works in New York and Mexico City. Drawing from other disciplines and often assuming scientific methodologies, his conceptual research informs his use of photography, video, drawing, and installation. Galvani's work has been exhibited internationally, including at the Whitney Museum, New York, NY; 4th Moscow Biennale for Contemporary Art; the Mediations Biennale, Poznan, Poland; the Aperture Foundation, New York, NY; the Calder Foundation, New York; the Central Utah Art Center, Ephraim, UT; Mart Museum of Modern and Contemporary Art, Trento, Italy; Macro Museum, Rome, Italy; GAMeC, Bergamo, Italy; De Brakke Grond, Amsterdam, the Netherlands; Oslo Plads, Copenhagen, Denmark; and the Unicredit Pavillion, Bucharest, Romania. In 2011, he received the New York Exposure Prize and was nominated for the prestigious Deutsche Börse Photography Prize. Selected publications include: Flash Art, Art Forum, Art Papers, Art News, Modern Painters, The New Yorker, Tema Celeste, Around Photography, Herald Tribune, Boiler magazine, Title, Arte Critica and Zoom Magazine.
Mathias Kessler (b. in Austria 1968), has recently had solo exhibitions at the Rosphot National Museum for Photography in St. Petersburg, the GL Holtegaard Museum in Copenhagen, and at the Kunstraum Dornbrin in Austria. His most recent group exhibitions include "[UN]NATURAL LIMITS" at the Austrian Cultural Institute in New York, "Hohe Dosis" at the Fotohof & Atterseehalle in Salzburg, Austria, "The Nature of Disappearance" at the Marianne Boesky Gallery in New York, "Hoehenrausch II" at the Offenes Kunsthaus in Linz, Austria, "Point of Intersection Linz" at the Art Museum Linz, "GO NYC" at the Kunsthalle Krems in Austria, and "The Invention of Landscape" at the Museo del Palaxio de Bellas Artes in Mexico City. His work is included in the Cisneros Collection, the Landesmuseum Vorarlberg, the Nordico Landesmuseum Linz, and the Illwerke VKW Kunstsammlung. In 2009 he was awarded the prestigious Staatsstipendium fuer Fotografie award in Vienna.
Y Gallery
165 Orchard Street
New York, NY 11370
New York
T: +1 917 721 4539
Y Gallery
11.9.2013.
MEG CRANSTON & JOHN BALDESSARI - Real Painting (for Aunt Cora)
Galerie Michael Janssen, Berlin
September 14 - October 30, 2013
Opening September 13, 6 - 9 p.m.
Real Painting (a sad doggie), 2013
Acrylic and oil on canvas
106,7 x 91,4 cm / 42 x 36 in.
Galerie Michael Janssen is pleased to announce the exhibition Real Painting (for Aunt Cora) with a series of new works by American artists Meg Cranston and John Baldessari. Following the exhibitionKeep it Simple. Keep it Fresh. at Michael Janssen Singapore in January 2013, Meg Cranston and John Baldessari collaborated in this new series to create paintings Baldessari formerly deemed impossible.
The text used in the paintings comes from a text written by Baldessari in 1961 to his Aunt Cora. It is an apology for not making the type of paintings his aunt would enjoy. In it, Baldessari states, he would like to make a painting of pink clouds, sage brush, washing on line, a bullfighter, sand dunes, a red farm house, a lady in gypsy costume, ducks by an old well, oaken buckets, a sad doggie, an eucalyptus tree with leaves that look real and highlights on raven-black hair. But, he said simply, "I can't". 
Real Painting (sand dunes), 2013
Acrylic and oil on canvas
106,7 x 91,4 cm / 42 x 36 in.
Meg Cranston: *1960 in Baldwin, NY. Lives and works in Venice, CA.
Selected exhibitions: 2014: Galerie Michael Janssen, Berlin (solo/upcoming). 2012: Made in L.A. (group). 2011: Municipal Art Gallery, Los Angeles (group). 2010: Gallery Brandstrup Oslo, Norway (group). 2009: Aachener Kunstverein, Aachen, Germany (solo). 2008: Getty Museum of Art, Los Angeles (group); Kuenstlerverein Malkasten, Duesseldorf, Germany (group). 2007: Artspace, Auckland, New Zealand (solo). John Baldessari: *1931 in National City, CA. Lives and works in Santa Monica, CA. Solo Exhibitions (selection): 2013: Michael Janssen Singapore. 2011: Australian Museum, Sydney and Stedelijk Museum Amsterdam. 2010: Fondazione Prada. Milan; Gemini G.E.L. Los Angeles, CA. 2009: Tate Modern, London, Museu d’Art Contemporani de Barcelona, Los Angeles County Museum of Art, Los Angeles, CA and Metropolitan Museum of Art, New York, NY; Fine Arts Museums of San Francisco; Museum Haus Lange. Krefeld, Germany. |
Real Painting (red farm house), 2013
Acrylic and oil on canvas
106,7 x 91,4 cm / 42 x 36 in.
The paintings have monochromatic backgrounds with gray text. The text is in Arial italic type hand painted. Meg Cranston determined the colors for the series drawing on her most recent work that reinvigorates color theory and investigates the business of color forecasting. She borrowed the colors determined by the Pantone Corporation for the women's fashion 2013 collections. “I have always been interested in why some colors seem to dominate at certain times. I have learned that the reason is that they are largely programmed – determined, if you will, by organized forces, namely the Pantone Corporation. Pantone releases a color forecast every season that most manufacturers follow to determine the colors of their products. I used the same colors because I wanted the paintings to be realistic – to reflect current conditions”, says Cranston.
Collaboration itself is a way for the two artists to achieve new solutions. For the exhibition they allowed the planes of text and color to work simultaneously in order to achieve a new and unanticipated resonance and profundity. The idea behind it was to use a 40-year-old text and update it by blending it within the context of color trends. “John and I are similar in the sense that we both like to work from a simple, almost neutral plan in the hopes of generating unexpected results. We both like to find ways to get beyond our own preferences and tastes so that we can generate something that we cannot anticipate. Paradoxically, for both of us, the lesson seems to be – the more neutral the plan the more surprising the result”, Cranston explains. 
Real Painting (sage bush), 2013
Acrylic and oil on canvas
106,7 x 91,4 cm / 42 x 36 in.
In her practice Cranston investigates the intersections between individual and shared experience and how imagery and objects acquire meaning in our culture. While oftentimes taking personal attributes or historical events as a jumping-off point, her work is ultimately concerned with the formal language of art and the role the artist plays in helping us see the world in new ways.
Since the 1960’s, the works of Baldessari have developed into one of the most pioneering oeuvres of contemporary art. By means of productive gaps between image and word, he focuses on the relationship between language and power. Visual jokes and plays on words are the means by which he disrupts the strict classification of sense and nonsense and sets in motion processes of critical thought with regard to society. |
Real Painting (washing on line), 2013
Acrylic and oil on canvas
106,7 x 91,4 cm / 42 x 36 in
GALERIE MICHAEL JANSSEN
Potsdamer Str. 63
10785 Berlin
Germany
T: +49 (0)30 259 272 50
F: +49 (0)30 259 272 518
www.galeriemichaeljanssen.de
Potsdamer Str. 63
10785 Berlin
Germany
T: +49 (0)30 259 272 50
F: +49 (0)30 259 272 518
www.galeriemichaeljanssen.de
5.9.2013.
galerie frank elbaz, Paris
|
Luis De Jesus, Los Angeles
|
galerie frank elbaz, Paris
Mungo Thomson
March 23, 1987 (The Nature of the Universe), 2013
Enamel on low-iron mirror with poplar and anodized aluminum, 74 x 56 x 2 1/2 in.
Courtesy Mungo Thomson & galerie frank elbaz, Paris
MUNGO THOMSON
September 7th to November 2nd, 2013 Opening on Saturday, September 7th Galerie frank elbaz is pleased to announce the first exhibition at the gallery by Los Angeles artist Mungo Thomson. Thomson's work in various media (film, sound, sculpture, publications, and photographic wall murals) explores backgrounds, negative space and atmospherics–whether material and phenomenological or social and historical. His artworks approach perception and cultural mediation with economy and wit, and often rely on existing forms of recognition and distribution. The exhibition will feature a number of new works by the artist, including several mirror works from his ongoing series TIME, and several sound sculptures from his ambitious orchestral project Crickets. Thomson's TIME mirrors are person-sized, silkscreened mirrors bearing the iconic logo and red border of the international weekly news magazine TIME. The mirrors are based on individual covers of the magazine that reference cultural or cosmological notions of time, history, perception and encounter. Installed together, they form kinesthetic configurations and infinity spaces in which the viewer, the viewing context and other mirrors are reflected and reversed endlessly. The mirrors on view in the exhibition are based on covers devoted to cosmology and the science of meditation ("Unlocking the Secrets of the Universe"; "Meditation: The Answer To All Your Problems?"). Thomson's Crickets is a musical score for orchestra based on the sound of crickets. It is transcribed from a French compilation of field recordings of crickets from around the world. A 17-player classical ensemble simulates these sounds in a live performance and an HD video. Thomson also recorded a series of instrument ‘solos'—recordings of individual performers impersonating the chirp of a single cricket—that play on small speakers, indoors and out. These "solos" will provide a musical accompaniment for the meditation mirrors, and, like them, form a new and unique ensemble configuration. A new 200-page hardcover monograph of Thomson's work, Time, People, Money, Crickets, published by SITE Santa Fe and Contemporary Art Gallery, Vancouver, will be available at the gallery. A book of the musical score for Crickets is forthcoming from Christoph Keller Editions and JRP|Ringier. MUNGO THOMSON: Born 1969 in California, USA. Lives and works in Los Angeles, USA. EXHIBITIONS (selection): 2014: Contemporary Art Gallery, Vancouver, Canada (solo); ArtPace, San Antonio, USA (solo); 2013: SITE Santa Fe, Santa Fe, USA (solo); Times Museum, Guangzhou, China (solo); The High Line, New York, USA (solo); Made in Space, Gavin Brown's Enterprise/Venus Over Manhattan, New York, USA (group); 2012: Aspen Art Museum, Aspen, USA (solo); Pacific Standard Time Public Art and Performance Festival, Los Angeles, USA (group); 2011: Untitled (12th Istanbul Biennial), Istanbul, Turkey (group); 2009: Compilation IV, Kunsthalle Düsseldorf, Düsseldorf, Germany (group); 2008: Hammer Museum, Los Angeles, USA (solo); Margo Leavin Gallery, Los Angeles (solo); 2008 Whitney Biennial, Whitney Museum of American Art, New York, USA (group); 2007: Between Projects, Kadist Art Foundation, Paris, France (solo); 2006: Negative Space Variations, GAMeC, Bergamo, Italy (solo); Art Statements, Basel, Switzerland (solo); 2005: PERFORMA05, New York, USA (group). COLLECTIONS (selection): Museum of Contemporary Art, Los Angeles, USA; Hirshhorn Museum and Sculpture Garden, Washington, D.C. USA; Walker Art Center, Minneapolis, USA; Museum of Modern Art, New York, USA; Whitney Museum of American Art, New York, USA; Fundación/Colección Jumex, México City, Mexico; GAMeC, Bergamo, Italy; Schaulager Collection, Basel, Switzerland; Kadist Art Foundation, San Francisco, USA / Paris, France. galerie frank elbaz 66 rue de Turenne 75003 Paris France T: +33 (0) 1 48 87 50 04 galerie frank elbaz LUIS DE JESUS Los Angeles
Heather Gwen Martin
Fencer, 2013
Oil on linen
72 x 63 in / 183 x 160 cm
Courtesy of the artist and Luis De Jesus Los Angeles
HEATHER GWEN MARTIN
Pattern Math September 7 - October 12, 2013 Luis De Jesus Los Angeles is pleased to present an exhibition of new paintings by Heather Gwen Martin entitled Pattern Math, on view from September 7 through October 12, 2013. An artist's reception will be held on Saturday, September 7th, from 6:00 to 9:00 p.m. Pattern Math is Heather Gwen Martin's third solo exhibition with the gallery and continues her exploration of abstraction in painting. Martin's work eschews conceptual strategies in favor of a very personal and intuitive approach that allows for a broad reading and interpretation. Thoughtful and straightforward, it combines a near-scientific sense of control over a number of formal and organic elements that direct the viewer onto multiple paths of experience. Her paintings can be seen to function as experimental fields—dynamic, spatial environments where energies and forces from the real world and the otherly imagined are brought into play, imposing upon and affecting one another. These forces are not necessarily measureable or quantifiable; rather they enliven the field through a complex matrix of factors: bold colors animate closely shifting hues and values; fluid, sinuous lines expand and contract in and out of intumescent shapes, bending space and creating precisely sculpted forms. Numerous layers of finely applied paint conceal and reveal, leaving ghostly, fragmentary traces and producing residual effects that challenge the eye and the mind. Since first taking advantage of UCSD's renowned cognitive studies program as a student, Martin continues to be interested in how we respond to stimuli and different interfaces in the world. "This particular interest in perception and visual processing", says Martin, "points to a focused concern on the understanding of abstraction, relating to composition with the nuance of shapes and relationships between forms that leads to making connections and associations from within the painting itself or from external influences. As the responses to my paintings reverberate from real and imagined instances where disparate forces come together for but brief moments, they function as a means of communication and an experience in physical reality not obstructed, altered, or interrupted by technology and artificial/non-physical interaction." Heather Gwen Martin lives and works in Los Angeles. She was born 1977 in Saskatchewan, Canada, and studied at the University of California, San Diego (BA with Honors, 1999) and The School of the Art Institute of Chicago (2001). Recent exhibitions include Rogue Wave 2013 at LA Louver, Venice, CA;The Very Large Array at the Museum of Contemporary Art San Diego, CA; and Theatrical Dynamics and Paradox Maintenance Technicians at the Torrance Art Museum, Torrance, CA. In addition, the Gallery will present her work at the upcoming EXPO CHICAGO, Booth 734, from September 19-22. Martin's paintings are included in the permanent collections of the Museum of Contemporary Art San Diego; Ron Pizutti Collection, Columbus, OH; Hallmark Art Collection, Kansas City, MO; as well as in numerous private and corporate collections. LUIS DE JESUS Los Angeles 2635 S. La Cienega Blvd. Los Angeles, CA 90034 T: +1 310 838 6000 E: gallery @ luisdejesus.com LUIS DE JESUS Los Angeles Galerie Christian Lethert, Cologne
Daniel Lergon
Untitled, 2013
Metal pigments on paper
242 x 177cm
Courtesy of the artist and Galerie Christian Lethert, Cologne
DANIEL LERGON
POTENTIAL EISEN September 06 – October 18, 2013 Opening: September 06, 2013, 6-9pm On the occasion of this year's DUESSELDORF COLOGNE OPEN we are very delighted to present the gallery's fifth solo exhibition POTENTIAL EISEN by Daniel Lergon. The Berlin based painter Daniel Lergon (b. 1978) shows paintings and drawings of his latest body of work. Powdered and neutrally bound iron on canvas and paper functions as the work's base coat. The iron particles on the painting's surface oxidate by applying acidified water and therefore determine the modulation of form and color. The potential of the painting's surface is chemically aroused, unlike in his earlier work series on fluorescent or retro reflective material that was physically changed by applying transparent lacquer. As then light played a major and form giving role, now the process of pictorial invention is made visible in different levels of materiality. The charged material and the artist's response to it influence the pictorial invention. On Saturday, October 19 th we will be opening our next exhibition irresistible non-solution by Dutch artist Nelleke Beltjens. Furthermore we are happy to again participate in this year's NADA MIAMI December 6th to 9 th, 2013 and Art Los Angeles Contemporary from January 30th to February 2nd , 2014. GALERIE CHRISTIAN LETHERT Antwerpener Straße 4 50672 Cologne Germany T: +49 (0)221 35 60 590 GALERIE CHRISTIAN LETHERT The Front Room, New York
Amy Hill
"Two Goth Women", 2013
oil on wood
13"x15"
Courtesy of the artist and Front Room, Brooklyn, New York
AMY HILL
The Age of Delightenment September 6th-October 13th, 2013 Opening Reception: Friday, September 6th, 7-9pm Viewing hours: Fri-Sun 1-6 and by appointment Front Room is proud to present a solo exhibition of new paintings by Amy Hill. Hill composes contemporary scenes inspired by pious gestures and devout expressions of Fifteenth century Flemish altarpieces and portraits. Her past series portrayed "Bikers" via Rembrandt and "Bohemians" a la Memling, now she turns worshippers of Mary into "Goth Girls." Featured in this exhibition will be Amy Hill's "Seven Deadly Sins" series, in which Hill references the central panel of Han Memling's Triptych of Earthly Vanity and Divine Salvation. The figure's pose and the iconography are transmuted to relate a contemporary update on the concept of the seven deadly sins. Apathy, Distraction, Deprivation, Nymphomania, Paranoia, Syntheticity and Workaholism replace the traditionally known sins, reflecting the current vices plaguing society. While the structure of each painting retains elemental features of Memling's Vanity, Hill redirects their reference to contemporary associations. Amy Hill's series "Women in Goth Clothing" relates the history of portraiture through the history of fashion. Clothing elements of the past, such as large ruffled collars, puffed-up sleeves and the folds of draping fabric can be seen as the primary concern in compositions of many well-known images. Hill considers the historical poses that accentuate these fashions and utilizes them as a departure point, attributing contemporary clothing trends as an indicator of current times. Hill retains the primary characterizations of 15th century Flemish art with her use of idealism and experimentation with perspective, creating portraits that are a contemporary reflection of the past. The subjects of her paintings are chosen from the fringes of society where there is more self-expression and give a more impactful view of today's society. Using a traditional oil glazing technique, these new series of paintings reveals the individuality of her subjects through style of dress and ornamentation. Their rigid positioning and formal poses accentuate the universal struggle to conform to the social constraints of the day. The juxtaposition of modern dress with primitive poses questions their placement in time, creating a tension both eerie and unsettling. The Front Room 147 Roebling St Williamsburg, Brooklyn New York, NY T: +1 (718) 782-2556 The Front Room Galerie Peter Kilchmann, Zurich
Hernan Bas
A satanist on Valentine's, 2013
Acrylic and airbrush on paper
76 x 56 cm
Courtesy of the artist and Galerie Peter Kilchmann, Zurich
HERNAN BAS
Deep in the Dark of Texas August 30th to October 19th, 2013 It is with great delight that Galerie Peter Kilchmann announces Hernan Bas's second solo show at the gallery. Hernan Bas will be showing new medium and large-format paintings on canvas and linen, and several works on paper. Hernan Bas created this new body of work during an artist residency at the Chinati Foundation in Marfa, Texas. Marfa became an artist colony of sorts in the 1970s when Donald Judd moved there and founded the Chinati Foundation. Located in the Chihuahuan Dessert close to the Mexican border, Marfa is indeed deep in the dark of Texas, as the exhibition title implies. Vast, sprawling landscapes have inhabited the paintings of Hernan Bas for some time now, so the impressions Bas gathered during his residency in Texas seem like a natural continuation of his theme. The painting There's just no point in crying accentuates the shimmering heat with the yellow and white horizon in the background, while a young man stands silently in the center front, looking down on a grave (2013, acrylic and airbrush on linen, 182 x 152 cm, shown on invitation card). Inspired by the aesthetics of the male androgynous dandy, Hernan Bas constructs an account of adolescent exploration. In other instances the suggested narratives may double as metaphors for a sexual and sensual awakening. Usually portrayed alone amidst their surroundings, the youths in Hernan Bas's paintings reside in a utopian world of instinctive sensuality. The detailed surfaces of the exhibited paintings are full of vibrant colors layered in broad brushstrokes. Despite the large formats of his paintings, Hernan Bas continues to work without studio assistants, thus maintaining a maximum operating range. Recently, Hernan Bas has explored and expanded on printing techniques, which he combines with painting to add texture to his works. The exhibition is completed with the presentation of smaller works on paper, which address the same thematic realm. Hernan Bas (born 1978 in Miami, US) has exhibited in numerous solo and group exhibitions. On the occasion of his solo show "The other side" at Kunstverein Hannover, Germany, a catalogue was published which can be obtained through the gallery. Works by Hernan Bas were included in the Nordic Pavilion at the 53rd Venice Biennale, curated by Elmgreen & Dragset in 2009. The artist has participated in recent group exhibitions including "Contemporary Magic: A Tarot Deck Art Project" at the Andy Warhol Museum, Pittsburgh, and "The Cry" at the Museo de Arte Contemporaneo de Castilla y Leon (MUSAC), 2011. His works can be found in numerous public and private collections, such as the collection of the Museum of Modern Art, New York, Rubell Family Collection, Miami, San Francisco Museum of Modern Art, Hirschhorn Museum and Sculpture Garden, Washington, or Whitney Museum of American Art, New York. A forthcoming monograph, published by Rizzoli, New York, will feature texts by Christian Rattermeyer and Jonathan Griffin, as well as an interview between Hernan Bas and Guggenheim deputy director Nancy Spector. The extensive and comprehensive anthology is set to be released in 2014. For an upcoming project, Hernan Bas will install a cabinet of curiosities at the Bass Museum of Art in Miami November 2013. Diverging from his role as painter for once, the artist will display a selection from his extensive collection of rare objects in a unique-designed cabinet construction. Hernan Bas has been collecting curiosities for nearly a decade, amassing items from the 18th century to the present. The artist lives and works in Detroit, Michigan. Galerie Peter Kilchmann Zahnradstrasse 21 CH-8005 Zurich Switzerland T: +41 44 278 10 10 Galerie Peter Kilchmann 
|
FOXY PRODUCTION, New York
David Noonan
Untitled, 2013
Silkscreen on linen collage
90 1/8 x 84 1/4 in. (229 x 214 cm.)
Courtesy of the artist and Foxy Production, New York
DAVID NOONAN
7 September - 26 October, 2013 Opening: Saturday, 7 September, 6-8PM David Noonan's fourth solo exhibition at Foxy Production comprises a new series of silkscreened, collaged paintings. The works' distressed surfaces and fractured subjects sustain a tension between abstraction and figuration, where images seem to subside into the materiality of the canvas. Printed in monochrome on raw linen, the works' patterns and patchworking undermine the legibility of the scenes they project. Subjects appear reflective, caught in the midst of transformation or constraint. Each composition is fragmented; characters seem ethereal, losing their holding to the heft of the material they are rendered upon. Noonan appropriates photographs of Butoh, the anarchic Japanese experimental theater. He transforms black-and-white production shots that document scenes and individual actors. While the original performances boldly confronted the social strictures of post-War Japan, Noonan's images have an introspective quality. He translates the art form's provocations into reflective moments of subtle emotion, overlaying reworked images with interpretations of the Japanese practice of Boro, the tradition of making bedding and clothing out of patches of rags. Four works are hung, one to a wall, in the main space: three have transfixed women who are almost overwhelmed by Boro effects, while the fourth and largest has a man attached to a wall across from a group of actors in formation. The sparse hanging of the works enhances their resonance with one another, engendering – with their subjects' nuanced expressions and sublimations within the synthesis of the patching and sewing – a contemplative mood. In contrast the smaller, second space maintains a more acute atmosphere, where the subjects' identities are veiled by Noonan's abstracting strategies. On one wall the head of a naked, contorted, and symbolically aroused man is enveloped by textile sections; on the opposite the make-up on an actor's face is indistinguishable from the work's printing and collaging. Noonan's subjects are destabilized: their wigs, costumes, painted faces, poses, and the transformations, disruptions, and overlaying they endure, leave them unmoored, lost in a floating world. He produces a system of imprints where literal interpretations are frustrated, where only intimations and inflections can survive. His compositions cross a kind of psychic barrier into a landscape of archetypes that are decipherable, yet decontextualized. The works may incite reflection, memory, and fancy; yet intimations can dissolve as quickly as they form, as the viewer becomes subsumed by patterns, stitching, printing effects, and the weave of linen. David Noonan (Ballarat, Australia, 1969) lives and works in London. He holds a BFA from Ballarat University College and an MFA from the Victorian College of the Arts, Melbourne, Australia. Exhibitions include: L'Ange de l'Histoire, Palais des Beaux-Arts, Paris (2013); Theatre of the World, Museum of Old and New Art, Hobart, Australia (2012-2013); Contemporary Art Museum, St. Louis, MO (solo); Tableaux, MAGASIN, Centre National d'Art Contemporain, Grenoble, France; The Age of Aquarius, The Renaissance Society, The University of Chicago; 10 ways to look at the past, The Ian Potter Centre: National Gallery of Victoria, Melbourne, Australia (all 2011); British Art Show 7: In the Days of the Comet, touring Nottingham, London, Glasgow, and Plymouth, UK (2010-2011); Washington Garcia at Mitchell Library, Glasgow; The Beauty of Distance: Songs of Survival: 17th Biennale of Sydney (2010); Australian Centre for Contemporary Art, Melbourne (solo); Altermodern, Tate Triennial, Tate Britain, London (both 2009); Chisenhale Gallery, London (solo)(2008); and Palais de Tokyo, Paris, France (solo)(2007). JRP Ringier published a monograph on Noonan's work in 2012, and he is featured in Taschen's Art Now, Vol. 4 (2013.) FOXY PRODUCTION 623 WEST 27 ST New York, NY 10001 T: +1 212 239 2758 FOXY PRODUCTION CHRISTINE KÖNIG GALERIE, Vienna
GABRIELE FULTERER / CHRISTINE SCHERRER
Untitled, 2013
mixed media (cotton embroidery yarn and acrylic on linen)
100 x 140 cm
Courtesy of the artists and Christine König Galerie, Vienna
GABRIELE FULTERER / CHRISTINE SCHERRER
as if. September 3 -28, 2013 Body parts / parts of bodies: Outlines of almost life-size figures are embroidered onto canvas raw or white, sometimes dissolving into an abstract tangle of lines. As in a palimpsest, paint is applied over this surface, implying a certain degree of body modeling and allowing the figures to meld into color spaces or emerge from them. The palette, which makes use of bright neon colors while at the same time remaining limited to the primary colors and their variations, underlines the expressive rhythm of the embroidery and the painting, whereby it also relates to a graffiti aesthetic: an approach to painting that is flashy and full of contrasts. A game of contradictions and paradoxes begins: the contemplative mode of embroidery, in earlier times associated with the so-called housewife, collides with the aesthetic of accelerated activity characterizing the participants of the sprayer scene at work. "Sgriaffare": scratching at the vulnerable skin of things, tattooing the organless body, writing on the contingent territories of the unsayable. And then in an act of expansion and inversion: pressing beyond the picture's edges, bursting out of the formats, liquidation/liquification of the object character. The same figures - now mirrored, rotated, doubled - are painted gesturally on the wall in neon colors, while a fragmentary figure is sewn directly onto the wall in black thread. A painting ground is repeated in another color. The exhibition sails under the banner of an "as if". As if it were possible that a norm-transcending power were inherent in embroidery. As if graffiti, applied anonymously under the sheltering curtain of night could be domesticated by bringing it indoors. As if the ornamental and the abstract, in a morganatic marriage, could establish a visual space transforming the tyranny of intimacy into a gesture of liberation, and the delinquency of sprayer art could, through contextual displacement, produce an alternative form of social interaction. Fulterer / Scherrer's rampantly growing images, which literally break through their frame, are experimental setups in a visual laboratory, whose purpose, beyond the creation of an injured beauty, is to offer proposals for opening the borders of production techniques. As if the aesthetic concretization of a gesture could at the same time open up the possibility of endless remixes. The magic of the banal, the banality of unconciliatory inscription on the periphery of social norms. In the words of a well-known pop song: "You've got to pick up every stitch, must be the Season of the Witch." (Thomas Miessgang, 2013) GABRIELE FULTERER, born in Mürzzuschlag in 1967, lives and works in Vienna. Academy of Fine Arts Vienna (Bruno Gironcoli), Mozarteum University Salzburg (Sculpture), University of Salzburg (German Language and Literature). CHRISTINE SCHERRER, born in Salzburg in 1967, lives and works in Vienna. University of Applied Arts Vienna (Ingeborg Strobl / Erwin Wurm), Mozarteum University Salzburg (Textile Arts / Tapestry), University of Salzburg (History). Collaboration since 2007. Selected exhibitions: 2013 temporary installation for REIGEN.im.park, Baden near Vienna; 2012 You're all in my head, Remise Bludenz; 2010 don't stop me now..., MUSA, Vienna; 2009 amp - either you got it or you don't, Christine König Galerie, Vienna; Cité Internationale des Arts Paris; 2008 Die Wand, Künstlerhaus Salzburg; Blechturmgasse, temporary installation, Vienna; Fluc, Vienna; 2007 still psycho, Galerie Eboran, Salzburg; Christine Scherrer + Gabriele Fulterer, Zwerglgartenpavillon, Galerien der Stadt Salzburg. CHRISTINE KÖNIG GALERIE Schleifmuehlgasse 1A A-1040 Vienna Austria T: 43 1 585 74 74 CHRISTINE KÖNIG GALERIE Galería Pilar Serra, Madrid
Adrián Navarro
Red Space #2
Oil on canvas
185x300 cm / 72.8x118.1 inches
Courtesy of the artist and Galería Pilar Serra | Madrid
ADRIAN NAVARRO
RED SPACE September 12th - October 30th 2013 Following his latest exhibition Ring Cycle in 2011, the Galería Pilar Serra presents Red Space, the latest project from Adrián Navarro forming part of his series Spaces. This series reinforces a line of investigation of his establishing connections between the pictorial medium, perception, architecture and abstraction. The colour red invades the gallery creating a pictorial installation and a warm, sensual, enveloping atmosphere. Navarro plays with transforming the perception of the spectator, generating an intense and dramatic ambience. Red in all its variants, from scarlet to carmine, passing through cadmium and alizarin, reflects the protagonism of the colour and discovers for us sensations "which only painting can provoke through colour understood as a source of radiant energy" according to the artist. The expression of colour as a malleable pictorial substance is appreciated through loose brushstrokes, spontaneous and rhythmic tracings running across the canvas. Rhythm, like colour, is fundamental in the work of Adrián Navarro. In a certain way, the surface of the picture hides from us the complexity of the tension between the interior, corporal and gestural rhythm, and the exterior rhythm, rigorous in its repetition. This duality expresses a hybrid space, a reflection of the human mind, where rational conscience co-exists with intuition. As in the earlier series Spheres, Rings and Loops, in the works of Red Space an illusory space can be seen generated by a grid of points located in the foreground, which contains a chaotic and mutable organic matter. The abstract structure that is created when the spaces are interlinked challenges the "ineluctable flatness" (C. Greenberg) of the surface of the picture composing "a visual score", which extends beyond the limits of the canvas and appropriates the space of the gallery. ADRIÁN NAVARRO (Boston, 1973) lives and works in London. He started his artistic activity in New York in 2001, after graduating from the Polytechnic University of Madrid, School of Architecture. In 2008 Navarro completed his art studies in Central Saint Martin's College of Art & Design. Adrián Navarro has been recently shortlisted for the '100 Painters of Tomorrow' Thames & Hudson Publication and for 'Contemporary Visions IV' at Beers.Lambert Gallery, London, 2013. Recent solo shows include Reflections, Maerz Contemporary, Berlin, 2012 and In&Out, 60 Threadneedle Street Art Space, London, 2012. He has been featured in group shows such as Geometry of Chance, Mirus Gallery , San Francisco, 2013; Premiere 2013, Maerz Contemporary, Berlin, 2013 and Cómplices del arte español contemporáneo, Fundación Canal, Madrid 2012. Galería Pilar Serra C/ Santa Engracia, 6 Bajo Centro 28010 Madrid Spain T: +34 91 308 15 69 /70 E: [email protected] Galería Pilar Serra, Madrid galerie laurent mueller, Paris
FACTS AND FICTIONS
James Brooks September 12th to October 26th 2013 Opening on Thursday September 12th from 5PM to 9PM The galerie laurent mueller is happy to announce its second solo exhibition of the english artistJames Brooks. One can instantly recognise the trace of James Brooks, as well as of his favourite techniques among the exhibited series of drawings, prints and a video/sound installation. But whilst looking closer, some works which could be mistaken for drawings are more similar to paintings with their successive layers of lacquer that Brooks has used in the series of drawings on canvas Invisible Cities - 2013. The exhibition at the gallery shows us how the artist apprehends manipulation and recontextualisation of public information, or, how facts can lead us to fiction. For his new audiovisual installation 21 Nocturnes des titres du ‘Monde’ - 2013, Brooks uses a mathematical procedure to translate the letters from Le Monde newspaper headlines into musical notes, referring to Chopin’s Nocturnes. Also, a series of prints titled Pillars of Hercules - 2013 starts with the telephone numbers of European Union embassies which are transcribed into fictive telephone conversations. This results in a succession of repeated numbers on A4 paper, referring to the bureaucratic system which is so characteristic of our times. James Brooks wants to integrate today’s political and societal resonances into his oeuvre and works incessantly by playing with repetition and the format of his works. A-L.V. James Brooks, born 1974 in Devon, lives and works in London MA of fine Arts at Chelsea College of Art, he received the Arts Council grant in 2006 and his work can be found in the collections of the Städel Museum in Frankfort as well as of David Roberts and Frédéric de Goldschmidt among others. His solo exhibitions include Reporter, Platform-A, Middlesbrough in 2013, The Information Exchange, Domobaal, London, 2012, Mass, Galerie Martina Detterer, Frankfurt and Folks, galerie laurent mueller, Paris in 2011. As well as his most recent group exhibitions Give me five, Städel Museum, Frankfort in 2013, Correspondances, galerie laurent mueller, Paris, and The Artist’s Postcard, Spike Island, Bristol in 2012. A catalogue will be published on the occasion of the exhibition. galerie laurent mueller 75 rue des Archives 75003 Paris Tel. +33 1 42 74 04 25 galerie laurent mueller Connecting Cities Network
|
2.9.2013.
Et al., San Francisco
S1 Artspace, Sheffield
Galerie Nordenhake, Stockholm
blank projects, Cape Town
Et al., San Francisco
Aaron Finnis
7 MB Data (RGB: Magenta/Red), 2013
Acrylic, shaped office corner desk
120 x 120cm
Courtesy of Et al Gallery, San Francisco
AARON FINNIS
NEW WORK August 16th through September 14th, 2013 The object as messenger As intermediary, as immutable screen Color as mediated reflection Wow and flutter Time and volume as borne by distance, area Data like taffy: pulled, dyed Et al. is pleased to announce the first Bay Area solo show of artist Aaron Finnis. These new works reflect the difference between the painted surface and the computer screen. Simple materials and minimal decisions strikingly illustrate the ones and zeros of data as represented by on/off areas of color shifting through the RGB spectrum across the surface of the work. Specifically, the works are split amongst different patterns and titled after these patterns as metaphors for data. Checkerboard works are like bits of information (while also recalling the blank Cartesian slate in photoshop) Works which feature parallel lines reference the form of computer and audio magnetic tape. AARON FINNIS: Born in San Francisco graduated from Goldsmiths College, London. He currently lives and works in San Francisco. Recent shows include, Schrodingers Cats, Popular Workshop, San Francisco and Important Projects, Oakland, CA. Several Species of Small Furry Animals Gathered Together in a Cave and Grooving with a Pict, Etaletc, San Francisco, CA, Questionnaire, 9th Floor Radio, by Aaron Harbour and Jackie Im, Oakland, CA, ALTAR, Altar Exhibitions, San Francisco, CA, NADA Art Fair, Represented by Et Al, Miami, FL, Vox VIII, Vox Populi Gallery, Philadelphia, PA, He is currently working on a book with Colpa Press, San Francisco, CA. Et al. is a gallery run by Facundo Argañaraz, Jackie Im, and Aaron Harbour. Representing a small group of artists, the gallery serves as a site for both exhibitions and experimental events, working with its select roster as well as other local and international artists, writers, and curators. The gallery is open Thursday-Saturday 1-5pm and by appointment. Et al. is located beneath Union Cleaners, 620 Kearny Street San Francisco, CA 94108 [email protected] etaletc.com Galerie Nordenhake, Stockholm
Meriç Algün Ringborg
A Work of Fiction, 2013, detail
Courtesy of the artist and Galerie Nordenhake Stockholm
MERIÇ ALGÜN RINGBORG
A Work of Fiction 23 August – 29 September 2013 Algün Ringborg's first exhibition at the gallery is generated through a single comprehensive methodology involving the making of an artwork according to a particular constraint: that of being exclusively made up from the exemplifying sentences in the Oxford English Dictionary. With reference to writers like Georges Perec and other members of the Oulipo group, Algün Ringborg set out to explore the act of writing and that of creating by not writing or making anything. Rather, each written word or action is prescribed by the dictionary. The project explores the concept of authorship, the role of the writer and thereby that of the artist. The exhibition comprises 3 main bodies of work: an environment, an audio narrative, and a manuscript for a novel – all characterizing the idea of an author and constructed using exemplifying sentences from the dictionary. The environment, first compiled as a list of objects then manifested physically in the space, reflects the idea of an authors’ space and makes for a framework for the act of making. The audio narrative, titled Metatext, echoing in the space, mediates on the act of writing itself. Almost like a self-reflective script, it explores writing through its own making and through what it says and intimates. Here we encounter the apparent author speaking of a book recently written: I was toying with the idea of writing a book. A work of fiction. I didn’t know what I was doing. And I have to say. The first sentence is so hard to compose. Finally, a novel, presented in manuscript form within the environment uses the same methodology in which nothing is written but rather compiled. It tells a detective-like story following the characters Maria, Mark and Peter. Romantic relationships develop into drama, murder and whatever else one might find in a more generic crime, romance or thriller book. The puzzling manner of writing reveals the methodology of its authoring as the story progresses. Meriç Algün Ringborg was born in 1983 in Istanbul and currently lives and works in Stockholm. The contrasting differences between the make-up of both cities – Istanbul and Stockholm – particularly socially and politically, as well as her movement between the two, play a key role in her practice. Her work concentrates on issues of identity, borders, bureaucracy, language and translation through appropriated and "ready-made" texts, collections and archives. Forthcoming and recent exhibition venues include Kunstverein, Hannover; Contemporary Art Gallery, Vancouver; Marabouparken, Stockholm; MoCA, Detroit; Museum of Applied Arts, Vienna; Art in General, New York (2013); CCA Wattis, San Francisco; Witte de With, Rotterdam; Malmö Konsthall, Malmö (2012) and the 12th Istanbul Biennial (2011). Galerie Nordenhake Stockholm Hudiksvallsgatan 8 SE-113 30 Stockholm Sweden T: +46 8 21 18 92 Galerie Nordenhake Berlin | Stockholm 
|
S1 Artspace, Sheffield
Nicolas Deshayes
Jetsam Ennui [detail], 2013
anodised and lacquered aluminium
with Frank Dobson Margaret Rawlings, c. 1936, bronze (Leeds Museums and Galleries Collection)
Courtesy S1 Artspace
NICOLAS DESHAYES
Crude Oil 9 August – 14 September, 2013 Crude Oil is an exhibition of new commissioned work by sculptor Nicolas Deshayes. Presented alongside is a personal selection of historical works from the Leeds Museums and Galleries sculpture collection including works by Hermon Cawthra, Geoffrey Clarke, Frank Dobson, Jacob Epstein, John Farnham, George Frampton and Henry Moore. In 2012 Nicolas Deshayes was commissioned to develop a new series of works following a period of research at the Henry Moore Institute Archive and Leeds Museums and Galleries sculpture collection. The exhibition Crude Oil brings together a selection of sculpture from the late 19th and 20th century that has influenced the development of Deshayes’ new work. It also marks the first occasion that S1 Artspace has presented a number of historical works as part of its exhibitions programme. Drawn to materials due to their synthetic connotations Deshayes selects processes that exist in the manufacturing world for the purpose of prototyping, packaging and reproduction. From these he creates and moulds organic forms and surfaces which relate directly to the natural world and more specifically the human body. The exhibition Crude Oil includes five new works each displaying a form of repetition or pattern; a reference to the mechanical reproduction processes adopted by manufacturers across the world. Although Deshayes does not commonly represent the body in a figurative manner – the historical works he’s selected occupy this role and act as protagonists throughout the exhibition – the new works each suggest a relationship to the viewer’s body through subtle choices the artist has made about height, position and arrangement. The title of the exhibition Crude Oil refers to the direct source of materials used in Deshayes’ practice – a fossil fuel created naturally from decaying plants and animals living in ancient seas millions of years ago. Through the oil refining process liquid styrene is formed – the base material for most plastics and polystyrene – a non-biodegradable substance at odds with its organic origins. To coincide with the launch of Crude Oil, Deshayes has produced a limited edition screenprint,Blueprint for Flints in Gluten, 2013 which is available to purchase at a special launch price here NICOLAS DESHAYES: Born in France (1983) he graduated from the MA Sculpture programme at the Royal College of Art in 2009 and the BA Fine Art course at Chelsea College of Art and Design in 2005. He currently lives and works in London. Recent solo and two person exhibitions include Snails, Brand New Gallery, Milan, 2013; Browns in Full Colour, Jonathan Viner, London, 2012; Vanille with George Henry Longly, Galerie Valentin, Paris, 2012;Precursor, E:vent Gallery, London, 2011 and A Killer Whale Breaching in Soft Focus with Ed Atkins, Transmission Gallery, Glasgow. In 2013 he was featured in group exhibitions at Carl Freedman Gallery, London; David Roberts Art Foundation, London; Marianne Boesky Gallery, New York; James Fuentes, New York; Saatchi Gallery, London; Shanaynay, Paris; The Collection, Lincoln and Wysing Arts Centre, Cambridge. In late August and September he will be included in exhibitions at Centre for Contemporary Art Ujazdowski Castle, Warsaw, Galerie Opdhal, Stavanger and The Approach, London. S1 Artspace 120 Trafalgar Street Sheffield S1 4JT T: +44 (0)114 2133 780 S1 Artspace blank projects, Cape Town
Igshaan Adams
Melkbankie, 2013
Cotton on found fabric and found gilt frame
74 x 64 cm
Courtesy of the artist and blank projects, Cape Town
IGSHAAN ADAMS
Have you seen Him? 22 August - 21 September 2013 The title of the exhibition references fabled sayings by Mullah Nasiruddin, the 13th century Seljuq satirical Sufi who is often referred to as "the wise fool". Adams identifies with the populist philosopher's often humorous searches for God in domestic and other commonplace objects. The exhibition features installation works and embroideries. The latter represents furniture pieces based on particular objects of personal, family and religious significance. Adams renders the objects incomplete, or with structural weaknesses counter to their quotidian functionality. The array of predominantly textile-based installations allude to disturbances within the comforts of home: explicating what happens when home becomes a place of danger. The personal narrative that runs through the work culminates in If that I Knew, the largest installation in the exhibition. The focal point of this work is a carpet of prayer mats representing a prone dog juxtaposed with the patterns and architectural elements inherent in the design of the carpets. Adams explains: "In Islam the dog is considered an impure animal. Superimposing the image of the dog on the Holy City is an act of claiming a stake despite rejection and ridicule. All the works in this body are conversations: between God and myself, moments and experiences. These conversations are often argumentative, conflictual, yet, intimate and at times reassuring." Igshaan Adams' work speaks to his experiences of racial, religious and sexual liminality in South Africa. Adams makes use of the material and formal iconographies of Islam and "coloured" culture to develop an equivocal, phenomenological exploration of these ideas through his installation and mixed-media works. Adams (b.1982 Cape Town) graduated in 2009 with a Diploma in Fine Art from the Ruth Prowse School of Art, Cape Town. His first solo exhibition Vinyl was held at the AVA Gallery in Cape Town in 2010, followed by In Between at Stevenson Gallery [2011] and If That I Knew [2013] at the Rongwrong gallery in Amsterdam. Selected group exhibitions include Swallow My Pride at blank projects [2010] and What we talk about when we talk about love at Stevenson [2011]. In 2012 Wanted magazine selected Adams as one of it's 12 Young African Artists featured at the Joburg Art Fair, and in 2013 he was awarded the IAAB/ProHelvetia residency in Basel, Switzerland, which culminated in a solo exhibition at the Basement project space in Basel. This is Adams' first solo exhibition at blank projects. blank projects 113-115 Sir Lowry road Woodstock Cape Town South Africa blank projects |
26.8.2013.
Taka Ishii Gallery, Tokyo, Japan
Gallery Magda Danysz Shanghai, China
West Space, Melbourne, Australia
Taka Ishii Gallery, Tokyo
Naoya Hatakeyama
Blast #14117, 2007
Lambda print
100 x 150 cm
Courtesy of the artist and Taka Ishii Gallery, Tokyo
NAOYA HATAKEYAMA BLAST Aug 20 – Sep 7, 2013 Taka Ishii Gallery is pleased to present "BLAST," a solo exhibition by Naoya Hatakeyama, from August 20 to September 7. "Blast" is one of Hatakeyama's best-known series and it has been frequently exhibited in museum exhibitions. The current exhibition, however, will comprise a new selection of prints including images that will be shown publicly for the first time. Hatakeyama began photographing "Blast" in 1995. The series was shown in the exhibition "Aspects of Contemporary Photography – another reality" held during the same year at the Kawasaki City Museum. Since then, Hatakeyama has continued to work on the series and it has been presented in numerous exhibitions in Japan and abroad. For Hatakeyama, who has created works that carefully and poetically examine nature, the cities that we have built, and the philosophies that give them form, the photographing of "Blast," which is coordinated with an explosives expert who accurately predicts where the shrapnel from the blasted boulders will fly, has been an invaluable experience that has allowed him to reexamine photography's appeal and the foundations of its technology. After the Great East Japan Earthquake of March 11, 2011, Hatakeyama felt that he could no longer continue to make photographs in the way that he had in the past. His decision to take stock of the "Blast" in the current situation marks an important event requiring long-term analysis. Hatakeyama's video work "TWENTY-FOUR BLASTS 2011", which was included in the large-scale solo exhibition "Natural Stories," first held at the Tokyo Metropolitan Museum of Photography and then at the Huis Marseille in Amsterdam and San Francisco Museum of Modern Art, will be available as an editioned work in the current exhibition. This summer, Shogakukan will publish the book Blast, which compiles works from the titular series. Taka Ishii Gallery 1-3-2 5F Kiyosumi, Koto-ku #135 0024 Tokyo Japan T: +81 (0) 3 5646 6050 Taka Ishii Gallery 
|
Gallery Magda Danysz Shanghai
© Maleonn, Studio Mobile, photography, courtesy of the artist
MALEONN
STUDIO MOBILE until 31 August, 2013 The exhibition presents the results of the Mobile Studio project by Chinese artist Maleonn. Maleonn has been traveling in China for nearly a year in a truck converted into a photography studio. With his team of six people and his photographic material, Maleonn has visited more than 50 cities.One can find in this project all the codes of the artist's fantastical universe, colorfull yet tinged with irony. The childhood, the kingship and romance are at the center of the Mobile Studio's photographs. With few resources, Maleonn managed to create a unique atmosphere. He has invited the people he met in each city to participate by having their portrait shot, creating as many situations as there are different personalities. This pioneering and original project in China is reminiscent of the explorers-photographers who crossed different countries to document what they were seeing by using photography. Yet for Maleonn, even if the shape of the Mobile Studio is similar, its purpose is somewhat different: the concept of sharing and exchanging with the Chinese population is the key point of this project. Maleonn thereby wishes to create portraits that look like "what they'd love to be or have always wanted to be but never had the chance to". Magda Danysz Shanghai 188 Linqing Road (x Pingliang Road) Shanghai China Gallery Magda Danysz Shanghai | Paris West Space, Melbourne
Jacqueline Felstead
F3 2012
from the series Retreat
pigment ink-jet print
110.0 x 115.0 cm
courtesy of the artist
JACQUELINE FELSTEAD
I am here 16 August - 7 September 2013 These portraits are of the residents of the notorious Gatwick Private Hotel. Here self-conscious residents stand with a blanket covering their face and upper body, standing as photographers themselves used to when they stood under a black cloth to better see through the camera lens. The hotel owner states: 'Most [residents] keep to themselves, stay in their room or go about their business without bothering anyone…Most of the residents you wouldn't know existed.' Anonymity and invisibility are harbingers of social inequality in a contemporary culture that increasingly relies upon visual representation. To be invisible is to disappear. Yet to be photographed is to have ones image join a network of images, the reading of which is usually beyond the power of the subject to direct. Jacqueline Felstead is a photo-media artist working with digital and experimental photo formats. Completing her MFA she also holds Bachelor degrees in Media Arts and Social Science. Felstead was awarded an Asialink Residency to Objectif's Centre for Photography and Filmmaking in 2009 with the support of Australia Council, a studio residency at the Banff Centre, Canada, in 2005 and was artist-in-resident at Laughing Waters, Eltham 2009. She was funded by Melbourne City Council to produce work for Melbourne and Other Myths at Melbourne Museum at Treasury in 2008. Felstead has participated in numerous exhibitions in Australia, Singapore and Canada - her work has been publicly exhibited since 2001. Recent exhibitions include : 2013 - National Portrait Prize, National Portrait Gallery, Canberra; 2012 – Dots and Loops, Evans Contemporary, Toronto, Canada; Bowness Award, Monash Gallery of Art, Melbourne; Head On Portrait Prize, Australian Centre for Photography; Retreat, Global Gallery, Sydney. West Space Level 1, 225 Bourke Street Melbourne, Vic, 3000 Australia T: +61 3 9328 8712 West Space |
AI WEIWEI - Baby Formula
Ai Weiwei's First Exhibition in Southeast Asia at Michael Janssen Singapore
August 24 - October 6, 2013
Opening Friday, August 23, 7 - 10 pm
Ai Weiwei
Baby Formula, 2013
796.5 x 1006.2 x 13.5 cm
Courtesy Para Site, Hong Kong
Michael Janssen Singapore is pleased to present the first solo exhibition by Chinese artist Ai Weiweiin Southeast Asia. The exhibition is entitled Baby Formula and opens on Friday, August 23.
Following China's 2008 melamine milk scandal, thousands of children who consumed the tainted milk fell ill and some even met their death. Mainlanders concerned about the safety of Chinese-produced baby milk formula resorted to purchasing milk powder from overseas and bringing it back to China. Subsequently, governments in Hong Kong and across Europe reacted to this surge in demand by enforcing restrictions on the number of cans mainlanders could purchase overseas.
Determined to initiate positive change and undeterred by the restrictions that the Chinese authorities had enforced, Ai Weiwei used Twitter to reach out to an even wider audience. For his exhibition in Singapore, Ai Weiwei has developed two series of prints selected from his tweets surrounding the safety of the mainland-produced baby milk formula. These prints will be shown together with an 860 square-foot installation – a map of China composed of more than 1,800 cans of baby formula.
By subverting instituted notions of culture and the role and form of art, Ai Weiwei's works question the value of the status quo. Drawing from Andy Warhol's philosophy that one must change things oneself; Ai Weiwei's art is a force for change. During his twelve years spent in New York, Ai Weiwei's exposure to Marcel Duchamp's work was crucial in his artistic development; it shifted his perspective towards one that recognized art as a gesture, which could assume any form the artist chose. Consequently, many of the materials he uses are recycled in order to reflect that people are not free to do what they want, namely to use their imagination.
Creating artistic statements that challenge socio-political norms, Ai Weiwei is one of China's leading artists. Like great innovators before him, Ai Weiwei is at times criticized in the same measure that he is honored. Ai Weiwei is not only an artist, but also a curator, designer, architect, publisher, Web blogger, and a compass for an entire generation of artists.
Following China's 2008 melamine milk scandal, thousands of children who consumed the tainted milk fell ill and some even met their death. Mainlanders concerned about the safety of Chinese-produced baby milk formula resorted to purchasing milk powder from overseas and bringing it back to China. Subsequently, governments in Hong Kong and across Europe reacted to this surge in demand by enforcing restrictions on the number of cans mainlanders could purchase overseas.
Determined to initiate positive change and undeterred by the restrictions that the Chinese authorities had enforced, Ai Weiwei used Twitter to reach out to an even wider audience. For his exhibition in Singapore, Ai Weiwei has developed two series of prints selected from his tweets surrounding the safety of the mainland-produced baby milk formula. These prints will be shown together with an 860 square-foot installation – a map of China composed of more than 1,800 cans of baby formula.
By subverting instituted notions of culture and the role and form of art, Ai Weiwei's works question the value of the status quo. Drawing from Andy Warhol's philosophy that one must change things oneself; Ai Weiwei's art is a force for change. During his twelve years spent in New York, Ai Weiwei's exposure to Marcel Duchamp's work was crucial in his artistic development; it shifted his perspective towards one that recognized art as a gesture, which could assume any form the artist chose. Consequently, many of the materials he uses are recycled in order to reflect that people are not free to do what they want, namely to use their imagination.
Creating artistic statements that challenge socio-political norms, Ai Weiwei is one of China's leading artists. Like great innovators before him, Ai Weiwei is at times criticized in the same measure that he is honored. Ai Weiwei is not only an artist, but also a curator, designer, architect, publisher, Web blogger, and a compass for an entire generation of artists.
Ai Weiwei
Baby Formula (Wallpaper) 2013
C-print mounted on aluminum dibond 120 x 300 cm
Courtesy Michael Janssen Singapore
Ai Weiwei (b.1957 in Beijing) lives and works in Beijing.
Selected solo exhibitions: 2014: Brooklyn Museum, New York, USA (upcoming). 2013: the 55th Venice Biennale, Venice, Italy; Indianapolis Museum of Art, Indiana, USA; Cleveland Museum of Art, Ohio, USA; Miami Art Museum, Florida, USA; Arken Museum of Modern Art, Skovvej, Denmark; Museu da Imagem e do Som, São Paulo, Brazil; Centro Andaluz de Arte Contemporáneo, Sevilla, Spain. 2012: Hirshhorn Museum and Sculpture Garden, Washington D.C., USA; Smithsonian Institution, Washington D.C., USA; De Pont Museum, Tillburg, The Netherlands. 2011: Victoria & Albert Museum, London, UK; Taipei Fine Arts Museum, Taipei, Taiwan; Louisiana Museum of Modern Art, Humlebaek, Denmark; Los Angeles County Museum of Art, Los Angeles, USA; Fotomuseum Winterthur, Winterthur, Switzerland; Kunsthaus Graz, Graz, Austria; Kunsthaus Bregenz, Bregenz, Austria. 2010: Tate Modern, London, UK; Museum DKM, Duisburg, Germany; Stiftung DKM, Duisburg, Germany.
Selected solo exhibitions: 2014: Brooklyn Museum, New York, USA (upcoming). 2013: the 55th Venice Biennale, Venice, Italy; Indianapolis Museum of Art, Indiana, USA; Cleveland Museum of Art, Ohio, USA; Miami Art Museum, Florida, USA; Arken Museum of Modern Art, Skovvej, Denmark; Museu da Imagem e do Som, São Paulo, Brazil; Centro Andaluz de Arte Contemporáneo, Sevilla, Spain. 2012: Hirshhorn Museum and Sculpture Garden, Washington D.C., USA; Smithsonian Institution, Washington D.C., USA; De Pont Museum, Tillburg, The Netherlands. 2011: Victoria & Albert Museum, London, UK; Taipei Fine Arts Museum, Taipei, Taiwan; Louisiana Museum of Modern Art, Humlebaek, Denmark; Los Angeles County Museum of Art, Los Angeles, USA; Fotomuseum Winterthur, Winterthur, Switzerland; Kunsthaus Graz, Graz, Austria; Kunsthaus Bregenz, Bregenz, Austria. 2010: Tate Modern, London, UK; Museum DKM, Duisburg, Germany; Stiftung DKM, Duisburg, Germany.
Ai Weiwei
Baby Formula (Wallpaper) 2013
C-print mounted on aluminum dibond 80 x 80 cm
Courtesy Michael Janssen Singapore
11.7.2013.
Galerie Stefan Röpke, Cologne, Germany
Julie Saul Gallery, New York, USA
Gimpel Fils, London, United Kingdom
|
Galerie Stefan Röpke, Cologne
(c) 2010 Robert Mapplethorpe Foundation, Used by Permission.
Robert Mapplethorpe
"Snakeman", 1981
silver Gelatin Print
50,8 x 40,6 cm
ROBERT MAPPLETHORPE
FETISH June 22 – August 31, 2013 Mapplethorpe took his first photographs using a Polaroid camera. He did not consider himself a photographer, but wished to use his own photographic images in his paintings, rather than pictures from magazines. "I never liked photography," he is quoted as saying, "Not for the sake of photography. I like the object. I like the photographs when you hold them in your hand." His first Polaroids were self-portraits and the first of a series of portraits of his close friend, the singer-artist-poet Patti Smith. These early photographic works were generally shown in groups or elaborately presented in shaped and painted frames that were as significant to the finished piece as the photograph itself. The shift to photography as Mapplethorpe's sole means of expression happened gradually during the mid-seventies. He acquired a large format press camera and began taking photographs of a wide circle of friends and acquaintances. These included artists, composers, socialites, pornographic film stars and members of the S & M underground. Some of these photographs were shocking for their content but exquisite in their technical mastery. Mapplethorpe told ARTnews in late 1988, "I don't like that particular word 'shocking.' I'm looking for the unexpected. I'm looking for things I've never seen before… I was in a position to take those pictures. I felt an obligation to do them." During the early 1980s, Mapplethorpe's photographs began a shift toward a phase of refinement of subject and an emphasis on classical formal beauty. During this period he concentrated on statuesque male and female nudes, delicate flower still lifes, and formal portraits of artists and celebrities. He continued to challenge the definition of photography by introducing new techniques and formats to his oeuvre: color polaroids, photogravure, platinum prints on paper and linen, cibachomes and dye transfer color prints, as well as his earlier black-and-white gelatin silver prints. Mapplethorpe produced a consistent body of work that strove for balance and perfection and established him in the top rank of twentieth-century artists. In 1987 he established the Robert Mapplethorpe Foundation to promote photography, support museums that exhibit photographic art, and to fund medical research and finance projects in the fight against AIDS and HIV-related infection. Robert Mapplethorpe died of AIDS in 1989 at the age of 42. GALERIE STEFAN RÖPKE St. Apern-Strasse 17-21 50667 Cologne Germany T: +49 022125 55 59 GALERIE STEFAN RÖPKE |
Julie Saul Gallery, New York
Nikolay Bakharev
Relationship #112, 2004-2005 / 2012
gelatin silver print
11 3/4 x 11 3/4"
edition 2/8
Courtesy of the artist and Julie Saul Gallery, New York
NIKOLAY BAKHAREV
Amateurs and Lovers July 10 - August 19, 2013 We are pleased to announce that Siberian photographer Nikolay Barharev (b.1946) will have his first solo exhibition in the United States. Bakharev appeared in the US in the 2011 Ostalgia exhibition at the New Museum which gathered art from Eastern European countries with a curious nostalgia for a difficult past. Massimiliano Gioni curated that show and has included Bakharev in the Encylopedic Palace compilation of over 100 international artists in the Central Pavilion at the 2013 Venice Biennale. Bakharev's work has historically been divided between private and public. In 2012 we included a selection of the public work in a three-person show along with Miroslav Tichy and Gerard Fieret. InAmateurs and Lovers we will combine images from both private series, made between 1980 and the present. During the Soviet era it was illegal to photograph nudes in Russia, so the public bathers provided a surrogate. Taking on the role of "beach photographer" enabled Bakharev to both earn a living and depict his subjects in a much more revealing way than was officially permitted. He carefully arranges his subjects into compelling poses in which the physical contact is erotically charged, and at the same time display vulnerability and elegance. Later, Bakharev arranged to photograph his subjects at home, often having met them at the beach. While the private images of women or couples photographed nude in their homes are more provocative and overtly sexual, they are also homey, with strange selections of objects inserted into the interiors including books, paintings and liqueur bottles that seem to indicate a hidden but deliberate iconography. As a critic in the Economist said of the Ostalgia show : "All of this art is political, by the simple act of its creation." Bakharev was an orphan (his parents died when he was four) who worked as a mechanic until he developed his profession as a self-trained photographer. He grew up in East Russia near Mongolia where he still lives. The beautifully printed and modestly scaled black and white photographs of Amateurs and Lovers are serious and playful, mysterious and direct, connected to other photographers (Arbus, Judith Joy Ross, Nicholas Nixon) and very much their own vision. Bakharev is included in the collections of the Museum of Fine Arts, Houston and the Art Institute of Chicago. Dashwood Books has recently published a monograph on Bakharev titled Amateurs and Lovers and reproduced the eponymous essay by Ektaterina Degot which appeared in the monograph People of Town N published in Russia in 2009. In the Project Gallery: a solo exhibition of digital photographs and a mural by Carolyn Janssen entitledSmall Baptism. Julie Saul Gallery 535 West 22nd Street New York, NY 10011 T: 1 212.627.2410 Julie Saul Gallery |
Gimpel Fils, London
Christopher Stewart
Untitled - Australia, 1998
c-type photograph
edition 3/7 + 1AP, 48 x 60 in / 122 x 152.4 cm
Courtesy of the artist and Gimpel Fils, London
|
Seamus Harahan
Torch (Extended), 2013
video, 8:30 mins, dimensions variable
Courtesy of the artist and Gimpel Fils, London
|
SEAMUS HARAHAN & CHRISTOPHER STEWART
Surveillance
26 June - 27 July 2013
Given the current interest in secret surveillance activities, this exhibition is timely. Both Seamus Harahan and Christopher Stewart deal with the subject from different standpoints.
Seamus Harahan's films are studies of human behaviour. Harahan sets up his camera and often uses a long, single take, as if from CCTV, focusing on a particular human activity being performed at a distance. The activity remains inexplicable: two young men making semaphore signals across a river, inBlue Eyes; while in Cold Open, a group of teenage children scuffling and idling in the middle of a busy road. Harahan scrutinizes the activity, occasionally zooming back as though to provide further clues, to locate and context the behaviour. As the artist puts it, he 'maps emotional and intellectual spaces.'
In the new work at Gimpel Fils, Torch (extended), we observe a figure lurking among bushes in a road of terraced houses. The long-range viewpoint moves back and forth, keeping the man's balding head in view. He is a university bookbinder tending his premises frontage and continuing to trim the hedge of his student neighbour's garden, although his suit and tie do not lend themselves to this. Harahan mediates this seemingly strange act of urban vanity and altruism, soundtracked by Marc Almond and Cindy Ecstasy singing of the tentative signs of new love, displacing again any simple, single narrative.
Christopher Stewart's photographs, from his Insecurity series, deal with a subject familiar to the artist: personnel from security companies and covert operators. Photographed alone or in small groups, isolated in sombre rural or strange urban settings, it is hard to know whether the protagonists are acting out their tasks, or simply awaiting orders. That the act of preparation in the photographs takes place in the ready made environments of familiar city streets, motels, parking lots and shopping malls, simply adds to the verisimilitude of the mileu he photographs.
Seamus Harahan has held solo exhibitions at Transmission Gallery, Glasgow, Museum van Hedendaagse Kunst, Antwerp and Wolverhampton Art Gallery. His videos have been screened in internationally, including Germany, Portugal, Holland, Czech Republic and USA. In the 51st Venice Biennale, his work was selected for showcasing art from Northern Ireland. He held his third solo exhibition, Cold Open, at Gimpel Fils in 2012.
Since graduating from the Royal College of Art, Christopher Stewart has taken part in over forty solo and group exhibitions internationally including at the UK’s National Museum of Photography, Film & Television and the Whitechapel Gallery in London. Recent group exhibitions include The History of Now, F/STOP Fotografie Festival Leipzig (2012); Something That I’ll Never Really See, a Victoria & Albert Museum Collection touring exhibition at The National Gallery of Modern Art, New Delhi (2011); and Darkside II, Fotomuseum Winterthur, Switzerland (2009). His work is featured in The Photograph as Contemporary Art, Thames and Hudson World of Art Series, 2004/2009; 100 European Photographers, EXIT, Madrid, 2013 (forthcoming); The Critical Dictionary, Black Dog, London, 2011; and Michael Langford’s Basic Photography, Focal Press 2009. He has work held in public and private collections including the Victoria & Albert Museum’s permanent collection in London. He held his fourth solo exhibition, Super Border, at the gallery in 2009.
Gimpel Fils
30 Davies Street
London W1K 4NB
T: 44 (0) 20 7493 2488
Gimpel Fils
Surveillance
26 June - 27 July 2013
Given the current interest in secret surveillance activities, this exhibition is timely. Both Seamus Harahan and Christopher Stewart deal with the subject from different standpoints.
Seamus Harahan's films are studies of human behaviour. Harahan sets up his camera and often uses a long, single take, as if from CCTV, focusing on a particular human activity being performed at a distance. The activity remains inexplicable: two young men making semaphore signals across a river, inBlue Eyes; while in Cold Open, a group of teenage children scuffling and idling in the middle of a busy road. Harahan scrutinizes the activity, occasionally zooming back as though to provide further clues, to locate and context the behaviour. As the artist puts it, he 'maps emotional and intellectual spaces.'
In the new work at Gimpel Fils, Torch (extended), we observe a figure lurking among bushes in a road of terraced houses. The long-range viewpoint moves back and forth, keeping the man's balding head in view. He is a university bookbinder tending his premises frontage and continuing to trim the hedge of his student neighbour's garden, although his suit and tie do not lend themselves to this. Harahan mediates this seemingly strange act of urban vanity and altruism, soundtracked by Marc Almond and Cindy Ecstasy singing of the tentative signs of new love, displacing again any simple, single narrative.
Christopher Stewart's photographs, from his Insecurity series, deal with a subject familiar to the artist: personnel from security companies and covert operators. Photographed alone or in small groups, isolated in sombre rural or strange urban settings, it is hard to know whether the protagonists are acting out their tasks, or simply awaiting orders. That the act of preparation in the photographs takes place in the ready made environments of familiar city streets, motels, parking lots and shopping malls, simply adds to the verisimilitude of the mileu he photographs.
Seamus Harahan has held solo exhibitions at Transmission Gallery, Glasgow, Museum van Hedendaagse Kunst, Antwerp and Wolverhampton Art Gallery. His videos have been screened in internationally, including Germany, Portugal, Holland, Czech Republic and USA. In the 51st Venice Biennale, his work was selected for showcasing art from Northern Ireland. He held his third solo exhibition, Cold Open, at Gimpel Fils in 2012.
Since graduating from the Royal College of Art, Christopher Stewart has taken part in over forty solo and group exhibitions internationally including at the UK’s National Museum of Photography, Film & Television and the Whitechapel Gallery in London. Recent group exhibitions include The History of Now, F/STOP Fotografie Festival Leipzig (2012); Something That I’ll Never Really See, a Victoria & Albert Museum Collection touring exhibition at The National Gallery of Modern Art, New Delhi (2011); and Darkside II, Fotomuseum Winterthur, Switzerland (2009). His work is featured in The Photograph as Contemporary Art, Thames and Hudson World of Art Series, 2004/2009; 100 European Photographers, EXIT, Madrid, 2013 (forthcoming); The Critical Dictionary, Black Dog, London, 2011; and Michael Langford’s Basic Photography, Focal Press 2009. He has work held in public and private collections including the Victoria & Albert Museum’s permanent collection in London. He held his fourth solo exhibition, Super Border, at the gallery in 2009.
Gimpel Fils
30 Davies Street
London W1K 4NB
T: 44 (0) 20 7493 2488
Gimpel Fils
5.7.2013.
Alison Jacques Gallery, London, UK
RARE, New York, USA
Caroline Pagès Gallery, Lisbon, Portugal
Galerie Hammelehle und Ahrens, Cologne, Germany
Galeria Fortes Vilaça, São Paulo, Brasil
Alison Jacques Gallery, London, UK
RARE, New York, USA
Caroline Pagès Gallery, Lisbon, Portugal
Galerie Hammelehle und Ahrens, Cologne, Germany
Galeria Fortes Vilaça, São Paulo, Brasil
|
Alison Jacques Gallery, London
Mathew Weir
Bitter Fruit, 2012
Oil on canvas mounted board
59 x 43 cm
Courtesy of the artist and Alison Jacques Gallery, London
MATHEW WEIR
5 July - 3 August 2013 'More than anything it's the surfaces of Weir's paintings, intricately alive with his vermicular brushwork, that contribute to this sense that the paintings are at once edible and corrupt, alluring and at the same time viscerally repulsive…Whatever the stereotypical, sentimental or comic iconography that Weir laboriously reproduces – alongside the radicalized grotesques and creepy renditions of girlish innocence are ribald, antic examples of the Dance of Death – it is this crepitant texture that both attracts and repels.' Brian Dillon, 'O Willow I Die', Mathew Weir, published by Alison Jacques Gallery, 2012 Alison Jacques Gallery is delighted to present a body of nine new paintings by British artist Mathew Weir. In these works Weir continues to fuse imagery of ceramic figurines with his archive of landscapes to create complex narratives with exquisite yet melancholic auras. By dislocating and re-presenting historic objects such as early 19th Century German terracottas or Victorian ceramics in uncanny contexts, Weir entreats the viewer to reconsider how our interpretations of their original representations have been transposed over time and to actively address notions of racism, oppression, violence and death. Two works from this exhibition, Jar (2011) and Bitter Fruit (2012) contrast the depiction of a black adolescent through a derisory colloquial object and the seemingly idyllic representation of a white woman: in the former, a rendition from a Victorian ceramic tobacco jar makes a visual parallel between boot-polishing and the original subject's skin, while in the latter the female figurine is dressed in elegant, pastoral drapes picking fruit for her basket as if in an Arcadian scene. The work's title, however, alludes to Billie Holiday's Strange Fruit, in particular her last line: 'Here is a strange and bitter crop'. This, together with the headscarf around the figure's neck, merges the violence of lynching with the Greek myth of Daphne becoming a tree. Weir employs such layering of metaphor throughout his landscapes: an image of a waterfall referring to latent sexuality, a children's see-saw to the idea of psychological balance. And even in those works in this show where he has deliberately sliced his figurines apparently out of context so that they loom at you from solid black backgrounds, this ominous duality of interpretation is rife. Glory, Hallelujah (2013) is based on a detail of a Staffordshire figurine depicting the American abolitionist John Brown, who himself was hung for insurrection, its title from the famous Civil War marching song sung in his honour. The original figurine is cropped to an intimate portrait, which makes our encounter with Brown directly charged. His ardent but mis-painted eyes stare out from what's clearly a painting of a painted object – the quick, imprecise marks and cracks on the original mass-produced popular figurine contrasting with Weir's exacting brushwork. This vulnerable martyr not only epitomizes emancipation and release for Weir, but also fragile disfiguration. Mathew Weir (born, 1977) graduated from the Royal College of Art, London (2004). He lives and works in London. In 2012 Alison Jacques Gallery published a Mathew Weir catalogue with an essay by Brian Dillon. Recent museum exhibitions include: Beyond Reality, British Painting Today, Galerie Rudolfinum, Prague (2012); Passion Fruits Picked from the Olbricht Collection, me Collectors Room, Berlin (2010); Lebenslust & Totentanz, Kunsthalle Krems, Krems (2010); and Wonderland - Through the Looking Glass, KadE. Amersfoort (2009). Weir's oil painting Abattoir (2013) is currently in Made in Bow at the Nunnery Gallery, London, until 25 July 2013, and his work is in the group show Victoriana: The Art of Revival at the Guildhall Art Gallery, London, from 7 September - 8 December 2013. Alison Jacques Gallery 16 - 18 Berners Street London W1T 3LN T: +44 (0) 20 7631 4720 Alison Jacques Gallery Caroline Pagès Gallery, Lisbon
Driss Ouadahi
Implosion, 2013
Oil on canvas
140 x 160 cm
Courtesy of the artist and Caroline Pagès Gallery, Lisbon
DRISS OUADAHI
Implosion June 27 – September 21, 2013 Constructing a point of view Driss Ouadahi is an Algerian artist, born in Casablanca, Morocco, in 1959. After starting a diploma in architecture in Algiers, he joined the Ecole des Beaux-Arts there where he took classes from 1984 to 1987. In 1988 he left Algeria and joined the Düsseldorf Academy of Arts where he obtained an MA in painting. He has lived and worked in Düsseldorf since. Throughout his artistic career, Driss Ouadahi has created special links between architecture and painting. The resulting works are abstract compositions featuring grid patterns, whose density evokes the architecture of the outskirts of big cities and their tightly woven networks of high-rise housing. Moving around this organised, structured and tiered impression of the urban landscape, and in trying to capture its spirit and movement, Ouadahi creates a space with a hybrid language, blending structured drawing and painting, where the vibrations of light and chromatic richness constitute a break with the rigidity and monotony of the structures. Large brush-strokes give volume and depth to the repetitive geometry in highly colourful compositions, creating a surface which is at once attractive and impenetrable and which leaves us wondering about life behind these walls. The inhabitants may not feature in these paintings, and yet they still reveal something of the social, townplanning and ethnic policies that are embodied in their mesh. Evoking architectural structures without their inhabitants means understanding the complexity of a place that can never be reduced only to what it is in itself. The composition of Ouadahi's works, abiding by a poetry of architectural codes, transforms the visible into a metaphor tending to point out an invisible driving force behind that which we see. The power of the visible depends, then, on its ability to suggest the invisible, and in this way Driss Ouadahi uses architecture as an abstract visual context where he constructs our way of seeing. - Brahim Alaoui, June 2013. Solo shows include Trans-location (2013) at Hosfelt Gallery, San Francisco; Breathing Space (2012) at Lawrie Shabibi Gallery, Dubai, UAE; and exhibitions at the Horst Schuler Gallery, Düsseldorf, Germany (2011); Herbert- Weisenburger-Stiftung, Rastatt, Germany (2009); dok25a, Düsseldorf, Germany (2008); Atelier am Eck, Düsseldorf, Germany (2005); Centre d’Art Contemporain Istres, Marseille, France (2003); Klinkhammer-Metzner Gallery, Düsseldorf, Germany (2001); and JASIM Gallery, Düsseldorf, Germany (2000). Collective exhibitions include 25 ans de créativité árabe (2013), curated by Ihab El Laban, Institut du Monde Arabe, Paris and Abu Dhabi ; 100%_100 ans, 100 artistes (2013), curated by Mohamed Rachdi, Espace d'Art-Société Générale, Casablanca, Morocco; Horizons croisés (2012), curated by Brahim Alaoui, Moussem culturel international d’Assilah, Morocco; Desviar do Olhar (2012), Caroline Pagès Gallery, Lisbon; Le Retour (2011), 3rd FIAC, MAMA, Algiers, Algeria; Magreb: Dos Orillas (2011), curated by Brahim Alaoui, Círculo de Bellas Artes, Madrid; Future of a Promise (2011), curated by Lina Lazaar, 54th Venice Biennale, Italy; Geometric Days (2011), Exit Art, New York; Looking Inside Out (2009), curated by Maaretta Jaukkuri and Cristina Ricupero, Kunstnernes Hus, Oslo, Norway; Périfériks (2009), Centre d’Art Neuchâtel, Switzerland; Iconoclastes: Les territoires de l’esprit (2008), curated by Kader Attia, Galerie Anne de Villepoix, Paris; Alger Capitale de la Culture Arabe (2007), Museum of Modern & Contemporary Art, Algiers, Algeria; Sonntag (2006) and, since 2006, he featured in several group shows at the Hosfelt Gallery in New York and San Francisco. His work can be seen, among others, in the public collections of the Herbert-Weisenburger-Stiftung, Rastatt, Kunstmuseum Düsseldorf, Nadour Collection and Stadtsparkasse Baden-Baden. Implosion is his first solo show at the Caroline Pagès Gallery and in Portugal. Caroline Pagès Gallery Rua Tenente Ferreira Durão, 12 - 1° Dto. 1350-315 Lisbon Portugal T: 351 213873376 Caroline Pagès Gallery Galeria Fortes Vilaça, São Paulo
Lucia Laguna
Paisagem Nº 66, 2013
Acrylic and oil on canvas
140 x 180 cm
Courtesy of the artist and Galeria Fortes Vilaça, São Paulo
LUCIA LAGUNA
Jardim 22 June - 03 August 2013 We are pleased to present Jardim [Garden], the first solo show by the artist Lucia Laguna at Galeria Fortes Vilaça. The exhibition features new acrylic and oil paintings, based on the landscape of the artist's daily life. Lucia Laguna's painting portrays her surroundings: the landscape of suburban Rio de Janeiro, the district's informal architecture, the artist's own studio and the garden of her house. They are slices of the landscape presented in a veiled, nearly abstract way. Shapes, lines and color fields are overlaid with more figurative elements, often giving the impression of a broken mirror. Laguna has developed a unique method, in which images are produced in acrylic paint by her assistants, according to her guidelines, who then completes or deconstructs them using oil paint. They are compositions where it seems that the process of painting never ends, the images remains alive and changeable before our eyes. The painting arises not only from observation, but also from an empirical practice of juxtaposition and reprocessing of everyday images, generating an accumulation of memories. The garden of Lucia's canvases is urban and characteristic of Rio de Janeiro. It shows itself amid a mix of stones and vases, the hills are taken by houses, and the backyards are full of rubble. In Jardim nº 11, for example, we see only a little table with houses in the background, there is no green on the canvas. The artist leaves large areas covered by patches of paint in colors ranging from beige to yellow, giving the impression of a field yet to be filled. It is an invitation for the spectator to project his/her own images on the accumulation of memories preserved under the mass of color. In Jardim nº 10, a large horizontal canvas, the artist offers us a sweeping personal panorama of the city she inhabits. The green of the plants and trees appears interspersed by sketched houses and vases, as though we were looking through the window of a house in an urban center where everything is always in constant movement. Lucia Laguna was born in Campo dos Goytacazes, RJ, in 1941. She received her degree in language studies in 1971 and began to teach the Portuguese language. In the mid-1990s, the artist took courses in painting and history of art at Escola de Artes Visuais do Parque Lage, in Rio de Janeiro. She held her first solo show in 1998. She participated in the Panorama de Arte Brasileira, MAM-SP, in 2011; the 2005/2006 edition of the Instituto Itaú Cultural's Programa Rumos Artes Visuais in 2006; and received the CNI SESI Marcantônio Vilaça Prize. Her work figures in the collections of the Museu de Arte Moderna of Rio de Janeiro and that of São Paulo, the Museu Nacional de Brasília, among others. She recently participated in the 30th São Paulo Biennial which is currently traveling through the state's interior. Also showing at the Galpão: MARINA RHEINGANTZ Uma hora e mais outra 08 June - 27 July 2013 We are pleased to present Uma hora e mais outra [One hour and yet another], a solo show by Marina Rheingantz at Galpão Fortes Vilaça. The show features 15 oil paintings, where the artist blends antagonistic elements, which can be images, styles or colors. In this new body of work places of passage, desolate landscapes and sublimated memory emerge like the components of a collage. Galeria Fortes Vilaça Rua Fradique Coutinho 1500 05416-001 São Paulo Brasil T +55 11 3032 7066 Galeria Fortes Vilaça |
RARE, New York
Amanda Kates
They're Just Like Us: Larry Ellison Eats a Hot Dog, 2013
Marker, collage, acrylic paint on paper
22" x 15"
Courtesy of the artist
WAYWARD BOUND
An Exhibition of Drawings by Seven Artists Curated by Aaron Skolnick June 25 - August 8, 2013 RARE is pleased to present Wayward Bound, a group show featuring drawings by seven artists each of whom is exhibiting at the gallery for the first time. Visual artist and independent curator Aaron Skolnick has assembled an exhibition that explores, challenges, and pushes the boundaries of the medium, which includes works ranging from classically rendered silverpoint portraits to vividly colored abstract collages. Participating artists are Taylor Bowen, Clint Colburn, Amanda Kates, Letitia Quesenberry, Aaron Skolnick, Mark Stockton, and Leah Tacha. Taylor Bowen's stylized illustrations of childhood symbols (e.g., Mickey Mouse) highlight the anxieties and pitfalls experienced upon the transition away from childhood. Bowen's characters are embodiments of addiction and hopelessness as they leave the world of innocence to become suspended in white voids with no reference to their previous carefree existence. The colorful collages ofClint Colburn explore the unknown and the subconscious. Taking viewers on an adventurous ride through his secret, coded world, Colburn works on multiple pieces simultaneously to allow his intuition to navigate freely through his layered visual language. Based on precise moments in time, Amanda Kates' drawings act as the ultimate voyeur, capturing frozen or buffering images from the Internet - images that we are not supposed to see. Her works have the structure of a snapshot, retaining the patterns and buzzing surfaces from the original source material. Not able to resist popular culture, though a self-proclaimed Luddite, Kates draws her imagery from the successes and failures of "red carpet" celebrities and the unique stratosphere occupied by billionaires. Letitia Quesenberry's three-dimensional drawings continue the artist's exploration of memory and visual attentiveness. Mimicking the Polaroid SX-70 format, Quesenberry layers graphite, black gesso, and pools of tinted wax to create images that have the look of over-exposed snapshots - they seduce viewers into taking a closer, more intimate look while invoking nostalgia in their own history. Aaron Skolnick's Jackie O series is a "tour" of the former First Lady before, during, and after the assassination of JFK. Through the process of repetition, the utilization of unusual mediums, and the deployment of a wide variety of techniques and aesthetic choices that reference art history, Skolnick's selections on exhibit at RARE deconstruct, rebuild, and recreate one particularly famous pose of Jacqueline Kennedy. In doing so, they give us a new series of iconic images of Jackie O for the 21st century. Mark Stockton expands on his meticulous renderings of the famous and infamous with a new series of silverpoint drawings, New York, Net Worth, which captures the richest faces of The Big Apple. Sourcing Internet and other found images, Stockton attempts to locate an intrinsic American identity. Leah Tacha's mixed media collages focus on ideas of domestic life, athleticism, and raw energy. From a visual standpoint, they encompass both the aggressive and the delicate, utilizing a combination of precisely rendered collage elements and bold mark making. Appropriating images that imply "success" (such as those of grand homes or athletes captured in full stride during their prime), Tacha strips them of their individuality to develop non-linear narratives. RARE 547 W 27 Street | #514 New York, NY 10001 T: 1 646.339.6050 RARE Galerie Hammelehle und Ahrens, Cologne
Andreas Rüthi
Still life with Chardin, 2012
oil on masonite
50 x 56 cm
Courtesy of the artist and Galerie Hammelehle und Ahrens, Cologne
ANDREAS RÜTHI
"Home Is Where The Art Is" until 27 July, 2013 Galerie Hammelehle und Ahrens is delighted to announce an exhibition of new paintings by Swiss artistAndreas Rüthi. Born in 1956, this is the artist's fifth solo show at the gallery and follows well received exhibitions in London, Zurich and Melbourne. Rüthi works directly from observation, creating complex formal compositions that bring together a variety of interests, with art historical references, found objects and his personal history all occupying equal importance and value of meaning. This exhibition can be seen to show the development of Rüthi's distinct painterly style with new paintings made during the last four years, split into two series – the book paintings and the more recent Morandiesque still life paintings. The title of the exhibition, 'Home Is Where The Art Is', refers not only to the making of his work and the ways in which his immediate environment influences his painting practice, but to the space and activities associated with domesticity and comfort. His studio is in a former slaughterhouse at the end of his garden and this sense of the uncanny or familiarity goes some way to suggest that the artist has thought about the dissonance between connotations of home. Notions of 'home' can of course point towards feminine domains, romantic clichés, cosy familial idylls, and yet persuade us to consider our trust in boundaries from the outside world created only by sand and water, bricks and mortar; a most unsettling reality. At its most basic level, the home is both a potential site of conflict and often of conflicting subjectivities or even ideologies. Though it can be a place where one might feel safe, find refuge, a place of belonging and community, it also holds the possibility of antagonism rather than harmony. This analogy between the home and the studio clearly resonates strongly with Rüthi. With his pared down methodology – a toy, a book, a piece of fruit, a postcard, a pot, accessory, perfume bottle, shelf or tabletop – his paintings could have been made anywhere: in an unfurnished room devoid of comfort, perhaps a prison cell. The high drama of the everyday is material for the artist: it's endlessly repeatable, an altar set up by a recidivist, a serial offender who paints the shadows between things. Like spit dripping down a window, the open book paintings seem to slide off the canvas. In a state of flux the reproduced image operates as a doorway into the past. The tones and skeins of colour echo a sozzled Lautrec, or the Marthe haunted interiors of Bonnard. And yet, these are books without words – text, where it appears is unreadable. They are also centre-folds, something seen most clearly in the odalisques in 'Still Life with Matisse', a possible allusion to Rüthi's past as an editor in publishing. There's an allure of vintage erotica about these – books propped up to keep the hands free. And, appropriately, this series borrows the pastel-like strokes Renoir used to inscribe his buxom bathers. The lines parallel the action of the eyes, constantly moving, never still. Rüthi has said that he's influenced by the graphic figuration of Georges Remi (Hergé): the ligne claire drawing, the scansion and rereading needed to navigate those detailed frames and panels are replicated here. The more recent paintings could only have been painted in an age of austerity. It's as if Giacometti was given a job lot of Titian's – burning some to keep warm, the rest painted over. These stylistic tropes add a heightened sense of the quotidian to the ascetic work, referencing the passage of time and a respect for historical markers, allowing the contemporary to seep through. Beckett's stage descriptions in Endgame also come to mind: 'Bare interior. Grey Light.' These could be instructions for the assembly of these pictures – Nag and Nell, the legless dustbin dwellers, wouldn't be out of place here. 'Large Still Life', where a group of objects seem to enact some existential theatrical drama, plays on the distinctions of functional and decorative objects, the manufactured and the handmade. Using only simple props, Rüthi's pictorial scenarios speak of poverty, relationships and the human condition, agonised and struggling. Labourious and time-consuming, the paintings themselves are built up over a series of months, with one painting taking Rüthi approximately 80 hours to fully complete. A definitive ticking off of time is produced by each painting, revealing some of the truth of its making – the alterations and deliberations, the constant working out and reworking – the changes are left on the canvas, as testament to the time put in, a reminder that painting is an act of endurance. Dazzling, weird and peculiar, the paintings in 'Home Is Where The Art Is' present one of the most inventive artists painting today. - Neil McNally Galerie Hammelehle und Ahrens An der Schanz 1a D-50735 Cologne Germany T: 00 49 0221 287 08 00 Galerie Hammelehle und Ahrens 
|
|
The Marmite Prize... You know, for painting.
MARMITE IV WINNER: Brian Cheeswright, 'Tomorrow is Already Here', 61 x 45cm, oil on canvas
The Marmite Prize IV finishes its five-city tour at Tannery Arts in Bermondsey, London.
Open 28th June to 20th July, Wed – Sat 12 – 6pm. 
Marmite IV Installation at Tannery Arts, London
The Marmite Prize for Painting is a young, nomadic prize that is rapidly establishing itself as the alternative John Moores, championing a wider range of contemporary painting.
Marmite Prize IV showcases 32 artists, selected from almost 850 entries by representatives from each of the galleries of the tour. 
The Prize: 'Fable', 2012, by Richard Wentworth
The winner will receive a specially commissioned 'marmite', made and donated by distinguished artist Richard Wentworth, recently Professor of Sculpture at the Royal College of Art. The runners up will both receive a pat on the back. There will also be a visitors' choice winner to be announced at the close of the exhibition.
Marmite III winner Iain Andrews, who as a result was featured on the front cover of a-n magazine, is on this year's judging panel along with established painters Dawn Mellor, Marta Marce and Tim Stoner. The shortlisted artists are diverse and international, from Amsterdam (Jana van Meerveld), France (Yifat Gat), Germany (Silvie Jacobi), Ireland (Damien Flood) and New York (Blake Shirley), as well as all over the UK. The Marmite Prize for Painting IV complete shortlist of 32 artists: Amelia Barratt, Julian Brown, Simon Carter, Brian Cheeswright, Jules Clarke, Ben Deakin, Marie d'Elbee, Damien Flood, Yifat Gat, Alex Hanna, Hyojun Hyun, Phil Illingworth, Silvie Jacobi, Christopher Jones, Matthew Krishanu, Jana van Meerveld, James Metsoja, Paul Newman, Tom Palin, Alison Pilkington, Playpaint, Clare Price, Dan Roach, Greg Rook, Andrew Seto, Sabrina Shah, Blake Shirley, John Stark, Mathew Tom, Virginia Verran, Charles Williams, Eleni Zagkali. The exhibition opened at Central Art Gallery in Tameside and toured to the Mackintosh Museum, The Glasgow School of Art, the Ruskin Gallery, Cambridge and The Gallery at Plymouth College of Art, before coming to Tannery Arts, London, where the winners are announced. 
Runner Up: Dan Roach, 'Bridgegate', 12.5 x 19cm, oil and wax on panel
Runner Up: James Metsoja, 'Group', 100 x 100cm, oil on canvas
|
Lance Hewison, Vessels
9-14 July, 2013 
Lance Hewison, Midnight, Oil on canvas, 76 x 76cm
Portrait painter from San Francisco, Lance Hewison will be hosting 'an evening with Lance' to launch his new body of work and exhibition 'Vessels' in Clerkenwell, London on the evening of July 10th.* details of times and location below
"In making Vessels I thought a lot about my perception of the human form as a solid container. I wondered if precise boundaries truly exist, like the tidy borders drawn around various countries on a map. Or, if on an unseen level, the body and its surroundings have no clear starting or stopping point. Science tell us an atom is comprised almost entirely of empty space. In this sense, perhaps no one or no thing is as fixed as we might think. The word vessel has multiple meanings. It refers to vases or urns built to contain various substances, ships that sail across the oceans, and vascular tubes used by blood cells to traverse the body. Technologically speaking, the internet and cellular phones are vessels for communication. The word is also used metaphorically. Like when we say we are vessels for creativity, for instance. In "Vessels", elliptical blips of paint merge and dissolve into brilliant fields of colour to form figures and objects. Hard contour lines have been eliminated. There is a nod to ancient Greek art, and its lust to discover ideal beauty within the human form.The male figures I've depicted appear caught off guard in states of restless energy. Through the medium of paint the container of flesh opens ever so slightly, and allows the form to move momentarily beyond its physical constraints" For details on location and attending the exhibition please visit www.theartcollective.com/lancehewisonvessels.php Venue: Frameless, 20 Clerkenwell Green, London EC1R 0DP Opening times: 9th-14th July 11am-7pm Private view evening event with Lance, RSVP only Wed 10th July starts at 6pm. Preview: 8th July 5pm-6.30pm Quotes
> On 8/11/12 11:13, "JOHN RUSSELL" <j***.*.*******@**********.com > wrote: > > > simon > > Don't know who this is or what its means (the dedication…) but anyway... > > John "Vampire mannequins staged as bowls players, drip fake blood onto the rolled-out green in the centre of the gallery. Does this installation act as a red herring, like the conspicuously named Marmite Prize for Painting? Perhaps not; painting has been declared 'dead' many times. The debate has waned, but to triumphantly claim that painting is born-again may be unrealistic. Perhaps the suggestion here is that painting is undead. Painters persevere, sucking the life out of their medium's vast but self-contained history and culture, their once utopian attitudes forgotten. Has the significance of painting as a pursuit, been reduced to little more than a leisurely game? Nevertheless these vampire bowls players, at the hub of a flurry of pictures, appear gripped with manic pleasure; they are disturbed and anarchic, with sharp teeth." - Simon Bayliss " The Marmite Prize is of a different order altogether – it still seems to be run by a team of caring artists (and it is) with the aim of taking that snapshot of painting now. It is growing, with more artists submitting work every year and the touring schedule becoming longer. In many ways it feels like some kind of national crit: one imagines the painters filing in at any moment, to sit on the floor all day and talk post-structuralism. It is still held in the community of artists, and for that reason it has a healthy dose of the whimsical, the cloying and the downright brilliant." - Stephen Felmingham "The Marmite Prize (no relation to the yeast based spread) was launched in 2006, and has gone on to establish itself as an unconventional art prize – one that does not adhere to the zeitgeist or specific disciplines, encouraging everything from landscape paintings and sculptural portraits, abstracts and still lifes to be submitted. It is the only festival that can truly call itself 'nomadic' – a biennial event that takes the paintings to the people and regards giving the public access to the work as important as the prize itself." - Sarah Walters, Manchester Evening News. "Every year the Marmite Prize gains more entries and more attention. Last year's winner Iain Andrews, was featured on the cover of a-n Magazine. What's so special about this painting competition is that it is open to everyone. We have established artists alongside emerging talent. Today's prizewinners really are the future stars of the art world." - Stephanie Moran, Marmite Prize Curator. Notes to Editors The Marmite Prize for Painting is a non-profit independent project established in 2006 by painters Marcus Cope and Stephanie Moran, it is run by painters for painters. Every year the Marmite Prize is dedicated to a very good artist. This dedication influences the hang of the works. This year the dedicatee is former artist collective BANK. The Marmite Prize for painting was first held at the Residence Gallery in Hackney in 2006, dedicated to Georg Baselitz all the works were exhibited upside down. The 2008 exhibition, held at studio1.1 in Shoreditch had an along the ceiling hang dedicated to Oliver Kossack. The 2010 prize, dedicated to Ida Appelbroog saw much of the work exhibited on free standing wooden structures, allowing the viewer to see both sides of the paintings. The project aims to question the validity of art prizes that evaluate creative activity with the intention of assigning a monetary value to the 'winning' artwork. As an alternative to a cash prize, the winning painter takes away the marmite, an artist-made vessel, which is awarded by the judges in recognition of artistic excellence. The works for exhibition for Marmite IV were shortlisted by: Marie Holland, Central Art Gallery; Jenny Brownrigg, Mackintosh Museum; Benet Spencer, Ruskin Gallery; Hannah Jones, The Gallery at Plymouth College of Art; and Andrew Bick, Tannery Arts; along with the Marmite Prize curators, Marcus Cope and Stephanie Moran. The selection process is made entirely anonymously from j-pegs. The Marmite Prize for Painting is in no way associated with a tasty yeast based food product called 'Marmite'. |
27.6.2013.
Hezi Cohen Gallery, Tel Aviv, Israel
Gladstone Gallery, New York, USA
Galerie Barbara Weiss, Berlin, Germany
Simon Lee Gallery, London, United Kingdom
Hezi Cohen Gallery, Tel Aviv
Jan Tichy
Installation no. 17, 2013
2 channel HD projection
Sheetrock, 50×50×450 cm
Inkjet print, 99×71 cm
Installation view at Hezi Cohen Gallery, Tel Aviv, 2013
JAN TICHY
Overlap 13 June – 20 July 2013 Overlap is Jan Tichy's first solo exhibition at Hezi Cohen Gallery. Tichy introduces three interconnected bodies of work, that together present the artist's unique and inquiring gaze upon the referential systems that link the private space and the public space. Upon entering the gallery, the viewer steps into the darkened and recalibrated space of Installation No. 17 (2013), created for and from within the space of Hezi Cohen Gallery, and following a series of installation works in which Tichy combines video projections with the positioning of sculptural and architectural objects. Tichy redefines the gallery space by manipulating the light inside, reducing it to an array of geometrical shapes dynamically sustained within the space. The gallery's interior space turns into a laboratory examining the phenomena related to the outside space: the way we are affected by the light conditions of the architectural spaces throughout the different hours of the day. Further inside, the gallery space offers the viewer an encounter with the public space of the Changing Chicago (2012) series – seven video works, in which Tichy studies sites in the public space of Chicago, the city in which he has lived and worked for six years. The series refers to the project of the same name, in which 33 photographers were commissioned to document the city's daily life and which was exhibited in Chicago in the late 1980s. In 2011, Tichy was commissioned by the Museum of Contemporary Photography, Chicago (MoCP) to create and curate an exhibition from their collection. In the exhibition – 1979:1-2012:21 (2012) – Tichy has chosen to display a selection of the original photographs of the Changing Chicago project, extending their interpretation through new arrangement and inclusion of his own series of video works Changing Chicago (2012). Whereas the photographers of the original project focused their gazes upon the surface of the city – the people and their immediate environment – Tichy's gaze is distanced in an angle that reveals each site in its general set up, and the inhabitants' activities influenced by the light conditions which are in constant flux, capturing their encounter with architecture. Tichy's camera is static for the entire shoot, and thus it offers a dissection of the decisive moment. Certificates of Authenticity (2005-12), awaiting the viewer on the upstairs level, is a series of still photographs, which Tichy has shot with his camera and collected over the years. Looking at the images one by one, introduces the light both in its traditional role of enabling the image, as well as an object of itself. The horizontal and vertical sights arising from the photographs offer a formal key, which resonates throughout all the works in the exhibition. Jan Tichy (b. 1974, Prague), is an Israeli artist who lives and works in Chicago. His previous solo exhibitions include MATRIX 164, Wadsworth Atheneum Museum of Art, Hartford, CT (2012); Museum of Contemporary Photography, Chicago (2012); Museum of Contemporary Art, Chicago (2008). His works are included in the collections of the Museum of Modern Art, New York (MoMA), the Museum of Contemporary Photography, Chicago, the Magasin 3 Stockholm Konsthall Collection, and the collections of the Tel Aviv Museum of Art, and the Israel Museum, Jerusalem. Tichy is the recipient of the Gottesdiener Israeli Art Prize, 2010. Hezi Cohen Gallery 54 Wolfson Street 66042 Tel Aviv Israel T: +972 (0)36398788 E: [email protected] Hezi Cohen Gallery SIMON LEE GALLERY, London
Documentation of Cildo Meireles' O Sermão da Montanha: Fiat Lux, 1979
Courtesy of the artist; Photography by Luiz Alphonsus
IN LINES AND REALIGNMENTS
CURATED BY LUIZA TEIXEIRA DE FREITAS AND THOM O'NIONS Adriano Costa, Marcius Galan, André Komatsu, Cildo Meireles, Nicolas Robbio, Roberto Winter and Carla Zaccagnini 26 June – 28 August Simon Lee Gallery is proud to present In Lines and Realignments, a group exhibition curated by Luiza Teixeira de Freitas and Thom O'Nions. The exhibition brings together the work of six artists currently living and working in São Paulo along with documentation of a work by Brazilian conceptual artist Cildo Meireles. The exhibition's starting point is Meireles' work O Sermão da Montanha: Fiat Lux (The Sermon on the Mount: Let There Be Light), which took place in Rio de Janeiro in 1979 as a twenty-four hour performance event. This piece consists of a mirrored basement room with floor covered in sandpaper, on the sandpaper sits a pile of 126,000 matchboxes watched over by a group of security guards. On the surfaces of the mirrors are phrases taken from the Sermon on the Mount, as described in the Gospel of Matthew. The work lies somewhere between a sculpture and a performance. The key to the work is its potential for activation, its latent sense of precariousness and imminent transformation. The exhibition gathers a set of works around these ideas of suspended action, artwork that exists on the cusp of change or transformation. The works in the exhibition embody ideas of performance whilst simultaneously remaining fixed. Marcius Galan's practice involves the construction of installations, objects and videos that deal with ideas of geometry and balance, often using this as a way of framing social, political and economic conditions. His work in the exhibition consists of a site specific installation of nails in the wall that produces a diaphanous construction of light and shadow, hovering between presence and absence. This oscillation between light and shadow also occurs in Nicolas Robbio's work in which a projection of a window blind occupies a section of the wall, an imaginary threshold that is both an image and a physical presence in the room. The presence of the viewer and their movement within the exhibition space is a key concern of Roberto Winter. His work in the exhibition consists of a scaled down model of a section of the room, containing a prism that reflects and refracts the light and space around it. Carla Zaccagnini's work addresses our interaction with the world, extending the exhibition to the streets surrounding the gallery. The work proposes a different form of attention to street signs, finding moments of unintended meaning through removing letters from the street names. The piece is anchored in the gallery with a wall text and the viewer invited to take away a set of stickers for altering the nearby signs, re-imagining the texts of the city. Adriano Costa's work deals with the physicality of the world, animating materials to reveal a shared physical quality with the viewer. These ideas also circulate within André Komatsu's practice. His work deals with a sense of measurement, how we construct systems of understanding and of quantification to help us deal with a disordered and ultimately chaotic world. SIMON LEE GALLERY 12 Berkeley Street London W1J 8DT T: +44 (0) 20 74910100 SIMON LEE GALLERY |
Gladstone Gallery, New York
Tony Labat
Leisure, 2002
Weber grill and extended legs
72 x 72 x 48 inches (182.9 x 182.9 x 121.9 cm)
Courtesy of the artist and Gladstone Gallery, New York
Photo: Dorothy Santos
MIXED MESSAGE MEDIA
Curated by Neville Wakefield June 21 - August 2, 2013 New York | 24th Street Gladstone Gallery is pleased to announce "Mixed Message Media," a group exhibition curated by Neville Wakefield. Featuring work by 15 artists, the exhibition explores the mutable nature of materials, highlighting the way in which even the most objective realities contain an inherent subjectivity. For this exhibition Wakefield will bring together artists from around the world, many of whom use non-traditional materials in an unexpected and unconventional manner, to create an immersive environment that investigates the ways in which materials are imbued with inherent meaning. Wakefield says of the exhibition: "Just as yes is always yes and sometimes no, so the same rule applies to the materials of everyday life. Concrete is always concrete, but it is sometimes plastic too. Or, as my youngest son once remarked of Britney Spears, ‘It's not just that she's crazy, she's nuts too.' This is our reality tunnel, a term Timothy Leary first coined in his 1977 book Neuropolitique: ‘The gene-pool politics which monitor power struggles among terrestrial humanity are transcended into this info-world, i.e. seen as static, artificial charades. One is neither coercively manipulated into another's territorial reality nor forced to struggle against it with reciprocal game-playing (the usual soap opera dramatics). One simply elects, consciously, whether or not to share the others reality tunnel.' Here truth is never anywhere other than in the eye of the beholder and the medium is always the mixed message." "Mixed Message Media" will feature works that represent a broad range of practices, including video, site-specific installation, painting, and sculpture. Among the works on view will be a five-part concrete sculpture by Lara Favaretto, each part of which captures a gesture meant to convey a single mood or feeling; a site-specific environment by Claudia Comte, which will include a series of sculptural works and a video; and a sculptural intervention by Renata Lucas, installed on the floor of the gallery. The artists included in the exhibition are: Darren Bader, Claudia Comte, Lara Favaretto, Piero Golia, Bruno Jakob, Jirí Kovanda, Tony Labat, Renata Lucas, Dylan Lynch, Cinthia Marcelle, Dominic Nurre, Alex Perweiler, Wilfredo Prieto, Zachary Susskind, and Kaari Upson. Gladstone Gallery 515 West 24th Street New York, NY 10011 T: +1 212 206 9300 Gladstone Gallery Galerie Barbara Weiss, Berlin
Jonathan Horowitz
95 Dots, 2013
Acrylic on canvas
95 parts: 30,5 x 30,5 cm, 213 x 472 cm overall
Courtesy the artist and Galerie Barbara Weiss, Berlin
JONATHAN HOROWITZ
Mrs. Carter and the Diet Cola for Men War June 21 – August 3, 2013 Galerie Barbara Weiss is pleased to present Mrs. Carter and the Diet Cola for Men War, featuring new work by New York artist Jonathan Horowitz. Here, Horowitz continues his subtle and incisive analysis of the current zeitgeist, refining a number of recurrent themes in his body of work. While past conceptual video and photo-based works have focused on topics including the cultural and political implications of vegetarianism, the LGBT movement, environmental activism and the harsh, media-orchestrated division of the American political landscape, his new exhibition centers on the ambiguity of the publicly-staged rivalry between large corporations, celebrity endorsements and the shifting identity of the consumer today. Horowitz's reference to the notion of the image in Pop Art is especially prominent in his Diet Cola for Men War (306 Cans), a work reminiscent of Warhol's silkscreens showing consumer products, though it also recalls the composition in Picasso's monumental war painting Guernica. 306 small canvases, each emblazoned with a can of soda, form a large mosaic of tautological market leadership. The brand rivalry between Pepsi and Coca-Cola – two companies with almost indistinguishable products – has also appeared in earlier works by Horowitz. Since the brand colors of the respective soft drinks match the visual branding for the U.S. Democratic and Republican Parties, this perceived antagonism has tangible political implications. It also becomes a broader metaphor for today's economic and politic system, one in which "enemies" are in fact best friends who share the market and propel each other forward. The cola cans in this work sport the corporations' latest marketing campaign for their calorie-free soft drinks. In this case, the hyper-masculine look of the products is explicitly geared toward men and is supposed to dispel the femininity commonly associated with dieting. Given the impartial juxtaposition of both designs, Horowitz's works do not appear as anti-consumerist. Rather than follow the well-worn path of classical consumer critique, these fictionalized designs for consumer products are taken for granted as an inherent part of culture today. Consumer product marketing forms a semiotic system that we should learn to read if we are to deal with it consciously and appropriately. For Horowitz, these soda cans are an authentic reflection of a culture in which obesity has become an epidemic and gender roles are exaggerated to the point of self-caricature. This attitude toward consumer products as cultural artifacts becomes even more evident in the second body of work exhibited in the show, where American pop star Beyoncé – under her newest moniker "Mrs. Carter" – takes center stage. The singer was named the spokesperson for Pepsi at the start of 2013. In juxtaposing Pepsi cans with the outlines of Beyoncé's face and Coca-Cola cans displaying a family of polar bears, Horowitz alludes to the racial subtext of these designs and marketing campaigns: While the polar bear is informed by a cultural anxiety (white people's fear of their own "extinction"), Beyoncé represents an almost superhuman figure and a new, mixed-race world order. In another work made from reflective steel on an aluminium honeycomb panel, Horowitz merges the "Beyoncé" brand iconography with that of Pepsi, and in doing so seems to suggest an almost cyborg-like quality to the pop star's brand as displayed in public. Her potential for consumerist projections is seemingly endless. No public figure endorses more brands in the U.S. than Beyoncé. The universality of her public performance appeals to virtually every demographic and race. The work of Jonathan Horowitz exudes the deeply democratic belief that art does not have to be separated from other spheres of public life. To some extent, the artist attempts to restore the image of some of its long-lost classical power – the power to entertain and to inform, and to affirm or undermine existing power structures. The works Man and 95 Dots form an almost corporeal counterpoint to the rest of the exhibition: In Man, a framed copy of an Art in America magazine cover showing a sculpture by Joel Shapiro leans against a wall – right next to an enlarged detail of the same magazine cover, where we see a man wearing headphones and work clothes, walking behind the large sculpture. 95 Dots, on the other hand, is a collaborative project for which Horowitz has asked 95 artists to paint an eight-inch dot onto a canvas, using nothing but paint and a brush. The individual canvases stand in stark contrast to the smooth aesthetics of consumer goods seen in the rest of the exhibition. Each of the dots is slightly different in size and shape, and carries the traces of an individual artist's hand. Galerie Barbara Weiss Kohlfurter Strasse 41/43 D - 10999 Berlin Germany T: +49 (0) 30 262 42 84 Galerie Barbara Weiss |
26.6.2013.
ERIC MANIGAUD
The Shadow Line
Private View
Thursday June 27th 6.30-8.30pm
Friday June 28th - Saturday July 27th 2013
ERIC MANIGAUD
debuts in London with six major pieces at the Saatchi Gallery and a one person show at CHARLIE SMITH london.
ERIC MANIGAUD
The Shadow Line
Private View
Thursday June 27th 6.30-8.30pm
Friday June 28th - Saturday July 27th 2013
ERIC MANIGAUD
debuts in London with six major pieces at the Saatchi Gallery and a one person show at CHARLIE SMITH london.
Eric Manigaud
'Klinikum # 5' 2010
Pencil graphite powder on paper
177x131cm
|
CHARLIE SMITH london is delighted to present Eric Manigaud with his first one person exhibition in London.
Eric Manigaud, French born and based in St Etienne, is recognised for his impeccably rendered large scale drawings in pencil and graphite dust. Often reaching 180cm in height or width, every piece represents an obsessive accomplishment of technical expertise and takes two to four months to complete. As the French art critic Philippe Piguet states: Everything in his work is of a degree of minutiae taken to an extreme, which propels the model he uses into a kind of meta-reality exceeding the details…He is an accomplished artist gifted with an astonishing virtuosity which competes with a rare expressiveness. 
Eric Manigaud
'Affaire de la Rue Houdon # 1' 2007
Pencil and graphite powder on paper
179x79cm
Manigaud’s depictions of 19th century asylum inmates express unparalleled pathos whilst recalling the Salpêtrière Hospital in Paris, where a young Sigmund Freud (1856-1939) studied under Jean-Martin Charcot (1825-1839), the accepted founder of modern neurology. Latterly Michel Foucault (1926-1984) would discuss the Salpêtrière Hospital when tracing the history of the treatment of the insane inMadness and Civilization. Manigaud’s drawings of murder victims are based on photographs by the criminologist Alphonse Bertillon (1853-1914), who introduced photographic anthropometry into the judicial system by devising classification techniques that enabled the cataloguing of criminals and crime scenes. Similarly, photographs taken on expedition to the Ivory Coast by Marcel Monnier (1853-1918), grandfather of Roland Barthes (1915-1980), are used in Manigaud’s jungle series. Taken duringMission Binger, the expedition was designed to help delineate the frontier, being redolent therefore of 19th century European imperial ambitions that would be realized in the catastrophic World Wars of the 20th century, from where Manigaud derives his series of war victims and bombed cities. Taken together, these series draw on the archival to represent an intertwined history of culture, science and politics. Specifically, they are touchstones to significant events and developments in the modern French period, but which resonate universally. For enquiries please contact CHARLIE SMITH london 
Eric Manigaud
'Gueule Cassée' 2006
Pencil and graphite powder on paper
180x139cm
|
In parallel with such a commanding deployment of technique is a brutal choice of subject matter, where the power of the image combines with its realisation to create an overwhelming and emotive presence. Manigaud searches relentlessly in order to source second hand imagery, where an instinctive discovery will trigger a new series of work. Selecting only historical images that refer unintentionally to the evolution of the modern age, Manigaud reveals empathy for mankind and simultaneously critiques its progress. Bombed cities, murder sites, asylums and the African interior are all theatres where modern man has faltered.
Eric Manigaud
'Dülmen 1945' 2011
Pencil and graphite powder on paper
179x179cm
Biographical:
Born: 1971 Education: 1996: Agrégation d’Arts Plastiques, University of Fine Arts, Saint Etienne; 1993: Maîtrise d’Arts Plastiques, University of Fine Arts, Saint Etienne Selected Exhibitions: 2013: The Shadow Line (Solo), CHARLIE SMITH london, London; Paper, Saatchi Gallery, London; 2012: The Saatchi Gallery & Channel 4’s New Sensations and The Future Can Wait (curated by Zavier Ellis, Simon Rumley & Rebecca Wilson), B1, Victoria House, London; Anthology, CHARLIE SMITH london, London; Klinikum Weilmunster (Solo), Olivier Houg Galerie, Lyon; Dreams and Ruins, Galerie d'Art Moderne, Sarajevo; 2010: Figure Toi!, FRAC Haute-Normandie, Rouen; Fake!, Stedelijk Museum, Alost; 2009: L'Afrique en Noir et Blanc, Musée Senlecq, l’Isle-Adam; Fragile, Museum of Art, Mannyun-dong Seo-gu Daejeon, Corée; 2006: 1914-1918, Musée d'Histoire du XXème Siècle, Estivareilles; 2005, Focalise, les voies de l’optique, Musée d’Art et d’Industrie, Saint Etienne Collections: Saatchi Gallery, London, United Kingdom; FRAC Haute-Normandie, Rouen, France; Landesmuseen Scloss Gottorf, Schleswig, Germany; Paul Dini Museum, Villefranche-sur-Saône, France; private collections in Belgium, France, United Kingdom & United States 
Eric Manigaud
'Jungle # 4 Sentier dans la Brousse' 2008
Pencil and graphite powder on paper
179x135cm
CHARLIE SMITH london Ltd.
336 Old Street London EC1V 9DR United Kingdom +44 (0)20 7739 4055 [email protected] www.charliesmithlondon.com Wed-Sat 11am-6pm or by appointment |
20.6.2013.
Galerie Christian Lethert, Cologne, Germany
NETTIE HORN, London, UK
DNA, Berlin, Germany
Galerie Peter Kilchmann, Zurich, Switzerland
Galerie Christian Lethert, Cologne
KAI RICHTER
break through the lines
Installation view
Galerie Christian Lethert, Cologne, 2013
KAI RICHTER
break through the lines 07 June – 27 July, 2013 We are pleased to announce our third solo-exhibition Break Through The Lines by Düsseldorf based sculptor Kai Richter. Besides site-specific installations the arist shows a new group of collages. Kai Richter's sculptures not only transform raw materials from the construction industry into works of art but also, and primarily, the space that surrounds them. In the truest sense of the word, his works "capture the space" since his construction-material installations not only occupy the space with their momentum and dynamics but also literally reach in and make the space real to the observer. As you can see, the sculptor is interested in creating a way to make a so-called dialog between the sculpture itself and the surrounding space in which it can unfold. The result is a symbiosis – a sort of "give and take" since the one defines the other and both claim their right to exist, at least for the limited duration of the artistic intervention. Even though Richter's large-format, space-related works literally take over the space and assert themselves very strongly there, they point out the stories of the space with self-assured authority and are not provocative. Strongly reduced in form and color, areas and volumes are what count here. Richter's installations, objects and photo-collages are not just the mere paraphrasing of architecture or construction sites. They themselves are neither architecture nor architectural by products nor only mere reproductions of architecture. Instead they exist next to or within the architecture as commentary, theses or even prognoses. (Gerard Goodrow) Kai Richter's new collages give a fourth dimension to the complexity of his installations: the impossible. Seemingly multi-perspective they result in unreal and impossible impressions of space that reinforce the character of his sculptures. After the summer we will open our fourth solo-exhibition with Berlin based artist Daniel Lergon. Galerie Christian Lethert Antwerpener Straße 4 50672 Cologne Germany T: +49 (0)221 35 60 590 Galerie Christian Lethert DNA, Berlin
Mariana Vassileva
Break In / Out: Breathing Light, 2013
Steel, Mesh Wire, Bulb
200x60x60 cm
Courtesy: DNA BERLIN
MARIANA VASSILEVA
Fold & Break until 31 August 2013 The solo exhibition of MARIANA VASSILEVA "FOLD & BREAK" that is firstly presented at the DNA BERLIN , is compiled from 5 brand newworks and one work produced in 2012-13. A wire cage with a loose end on one side suggests either escaping or breaking in. A video installation presents the viewer with a composition of hands of different ages, tapping on a surface. In the absence of facial expressions, the hands reveal the personality and its momentous emotional state. A video shows a person, swirling vigorously around himself a burning bundle at twilight. He creates a universe of his own with his private "sun" circling around him and casting a shadow, which frenetically runs around him, as he stands in one place. This new video work "Turnovo" (2013) is directly connected with her new installations. These works of Mariana Vassileva that are filmed in her hometown in Bulgaria, inspired, influenced from and about the story of her parents, are presented for the first time to the public at the DNA BERLIN. DNA Auguststraße 20 10117 Berlin Germany T: + 49 (0)30 28 59 96 52 DNA 
|
NETTIE HORN, London
Antti Laitinen
Still from the video Forest Deconstruction 2013
Courtesy of the artist and Nettie Horn, London
ANTTI LAITINEN Forest Deconstruction 21 June - 27 July 2013 NETTIE HORN is pleased to present ANTTI LAITINEN's third solo exhibition at the gallery to celebrate the artist's participation in the 55th Venice Biennale where he is representing Finland. The exhibition will feature a selection of projects, which have marked the artist's practice since 2002, presented alongside documentation and works from the "Forest Square" project conceived for the Venice Biennale 2013. Embodying the stamina of the Sisyphean gesture, Laitinen's performances are attempts to recall a certain primitive language and conventions where the engagement of physical repetition, the idea of discomfort and the implication of solitary gestures reflect on the essence of the human being. If the artist's drive deliberately flirts with the reality of life's struggles and defeats, it is through an idiosyncratic sense of humour that embraces the absurd. Somewhere between the irrational and unpredictable characters of Russian writer Daniil Kharm's stories and the surrealism of Monty Python, Laitinen exploits a philosophy of the absurd defined by Camus as "man's futile search for meaning, unity, and clarity in the face of an unintelligible world devoid of God and eternal truths or values" [1]. Is Laitinen this absurd man, described by Camus, as the conqueror who forgoes all promises of eternity to affect and engage fully in human history? Choosing action over contemplation certainly drives Laitinen's practice and heroic impetus – after all, we all know that nothing can last and no victory is final. In "BARE NECESSITIES" (2002), Laitinen explores our romantic notions of nature in this urban age by living for four days in the Finnish national landscape, a forest beside a lake, without any food, water or clothes. The concept – escape from culture into the arms of the wilderness – is one of the basic motifs of Finnish identity: the first Finnish novel, Aleksis Kivi's "The Seven Brothers", is a story of seven men who escape into the forest to evade the demands of civilisation. Laitinen's work is a documented lifestyle experiment, which explores the idea of a return to nature in an age of ecological problematics. In the video, we see the artist in all sorts of seemingly comical situations: lighting a fire by rubbing two sticks together, picking up ants for food, fishing with a primitive spear, burrowing in the moss under a tree to sleep. For the project "THREE STONES" (2004) Antti dug a hole and collected the stones he found after seven minutes of digging, seven hours and seven days. For "WALK THE LINE" (2005-ongoing) the artist printed his portrait on various maps and then walked along the lines of his face. The GPS system he carries along the way records his journey, drawing the path he walked. Laitinen performed this project in Helsinki, Kuopio, Jyväskylä, Luukkaa and Oulunkylä Forests (Finland), Kielder Forest, Newcastle, Pontburn Woods (UK), Warsaw, Krakow (Poland) and Athens (Greece) and Madrid (Spain). For the project "FOREST SQUARE" Laitinen chopped down a ten meters square section of forest and sorted the entire found material such as the soil, moss, wood, pines, etc into various categories. He then rebuilt and reorganized the forest according to different colours – the composition referring to the pure abstraction and utopian ideal of spiritual harmony and order from the De Stijl movement. Between the summers of 2007 and 2009, Antti Laitinen dedicated his practice to the "ISLAND TRILOGY" which he developed through three subsequent chapters. The first chapter of the trilogy entitled "IT'S MY ISLAND" (2007) consists of a series of photographs, a video-triptych and an installation piece, depicting the artist constructing his own island (and micro-nation) in the Baltic Sea; using nothing but a spade, sand and sacks. Individually filling each of the 200 bags with sand, the three simultaneous videos go on to show Laitinen painstakingly dragging each bag to the same spot in the sea, braving the harsh waves and conditions, until the island starts to appear over the water. The second chapter of the trilogy entitled "VOYAGE" took place in 2008. For this project, Laitinen constructed and rowed a "paradise" island through a series of seascapes in the Baltic Sea, in Greece and on the Thames in London and thus creating his own appropriated "land" enabling him to travel. "GROWLER" is the final performance project closing the "Island Trilogy" in the summer of 2009. Having preserved a seven Cubic meter block of natural ice in Styrofoam since the previous winter, Laitinen waited until the summer to resurrect this "iceberg" into the sea. The artist went on a slow rowing journey, iceberg in tow, during which the ice progressively disappeared and melted back into the water it once came from. This idiosyncratic vision is encapsulated through a video and a series of photographs. 1] See "The Myth of Sisyphus" by Albert Camus, 1942 NETTIE HORN 17A Riding House Street London W1W 7DS T: 0044 (0)207 637 2106 NETTIE HORN Galerie Peter Kilchmann, Zurich
Los Carpinteros
Clavos Torcidos [Twisted Nails] (2013)
Metal, 40 parts, Unique
each part between: min: 110 × 70 × 45 cm, max: 210 × 30 × 20 cm
Exhibition view: Los Carpinteros 'Bola de Pelo', Galerie Peter Kilchmann, Zurich, 2013
Photo: Thomas Strub
Courtesy of the artists and Galerie Peter Kilchmann, Zurich
LOS CARPINTEROS
Bola de Pelo June 8 to July 27, 2013 Galerie Peter Kilchmann is pleased to present this single exhibition by Los Carpinteros. Graduated from the Superior Art Institute of Havana, the collective, consisting of Dagoberto Rodríguez (*1969) and Marco Castillo (*1971), currently live and work in Madrid, Spain as well as in Cuba. On the occasion of this exhibition Los Carpinteros will be showing a series of new works, including sculptures, large works on paper, and their new art film Pellejo. Upon entering the gallery, one encounters forty metal sculptures that seem to cover the floor of the first gallery space. Clavos Torcidos [Twisted Nails] (2013) is an installation comprised of large-format nails (approx. 150 – 200 cm, each). Seemingly twisted and rusty the nails look like they have been extracted from their former purpose and discarded. The motif of "Failure" comes to mind. Bent out of shape, the nails have lost their purpose, when in reality the sculptures have been carefully crafted. Here, the ordinary becomes extraordinary. The different contours drawn by Clavos Torcidos resemble lying bodies, which are sleeping in different positions or the falled men after combat – in both cases the work discusses on the human shape and its suffering. This physicality finds an echo in the second gallery space, where the video work Pellejo is shown. Pellejo [Skin] (2013) is the second film made by the collective. A black and white HD projection shows the passing of time while two actors perform a sexual scene with each other. As an analysis of life and the essence of human existence, the film is a meditation on the meaning of time. The title itself refers to "skin", the part of the body that displays the most physical signs of aging and therefore may be seen as a symbol for change and temporality. In a third gallery space Los Carpinteros show new works on paper. Situating an object against an empty background that seems to convey some sort of landscape, the playful title of the works reveals what is in front of the viewer: Mohawk (2013, 87 x 121 cm, framed), Mullet (2013, 87 x 121 cm, framed), and Punk (2013, 87 x 121 cm, framed) must of the drawings refer to different hairstyles that became famous during the 1980s and that are now seen as wooden poles on sand dunes. The large-format sculpture Bola de Pelo [Hairball] (2013) marks the final peak of the exhibition. Continuing with the tendency of Los Carpinteros to formulate one motif in a variety of techniques, the sculpture shows the hairball as an abstract sculpture. While traditional sculpture is a reflection on volume, this piece shifts the focus to the idea of a possible "skin" of the sculpture. Los Carpinteros are currently also exhibiting their installation Candela (2013, various formats) in a solo show with the same title at the contemporary art space Matadero de Madrid, in Spain until July 21. The installation reflects the energy of the current social times with the help of a backlit mural showing flames. The backlight is a lighting technique traditionally used in large political portraits in public spaces in Latin America. For their participation in the 4 th Biennial of Thessaloniki the collective will show the photograph series Túneles Populares (1999, each 130 x 185 cm, framed). Galerie Peter Kilchmann Zahnradstrasse 21 CH-8005 Zurich Switzerland T: +41 44 278 10 10 Galerie Peter Kilchmann |
13.6.2013.
galerie laurent mueller, Paris, France
i8 Gallery, Reykjavik, Island
Galerie Francesca Pia, Zurich, Switzerland
The approach, London, UK
galerie laurent mueller, Paris
Elvire Bonduelle
Les dessins à la règle - 2012
Ink-jet print on aluminium
70 x 100 cm
Courtesy of the artist and galerie laurent mueller
SALLE D'ATTENTE III
Elvire Bonduelle invites Adam Ball, Michel Blazy, Côme de Bouchony, Fouad Bouchoucha, Rada Boukova, Nicolas Boulard, Pierre Charpin, Guillaume Constantin, Laurence De Leersnyder, Nathalie Elemento, Sammy Engramer, Julie Genelin, Liam Gillick, Aurélie Godard, Daniel Gordon, Ann Guillaume, Vincent de Hoÿm, Hanna Husberg, Niall Macdonald, Shana Moulton, Camila Oliveira Fairclough, Renaud Patard, Charles Petit, Romaric Tisserandand Adrien Vescovi June 6th to July 20th 2013 The conditions for looking at art are miserable. Shows are often full of people, a few of whom are idiots. You can only stand and look, usually past someone else. No space, no privacy, no sitting or lying down, no drinking or eating, no thinking, no living. It's all a show. It's just information. Donald Judd, Complete Writings 1959-1975, Halifax: Press of the Nova Scotia College of Art and Design & New York: New York University Press, 2005 (1973) Because the fact is: quite often, we do not see anything. We are pushing our vision to see here, now, in three minutes, in thirty seconds. Why can one not sit more often in front of the artworks? Salle d'attente III is the third instalment of an exhibition series based on the idea that waiting rooms are spatiotemporal parentheses which offer themselves to the contemplation of artworks. At the galerie laurent mueller, this new experience unites 26 artists in two spaces linked by a staircase. As if a single waiting time did not suffice, a second room is expecting the visitor upstairs. The installation reminds us of medical waiting rooms, where each practician has added his contribution to the whole. One doctor hung up a painting by an artist friend, his colleague an inherited painting, while the anaesthesiologist inserted an antiquated etching, an out-of-fashion poster, and so on. In our waiting room, the visitor will at first be taken aback. Can one sit on one of these three benches? After all, one does not sit on art but these cushions seem to invite us to. What can we read on them?Sit on it, Wait and See, Là ça va ... All these injunctions to let oneself go, to patience, to rest. Well, let us sit down. Left waiting, the visitor's eye starts to wander on the walls, establishing unexpected links between the works. A coat rack, a monochrome, photographies, a wall clock, Brazilian words, drawings. From this disparate cast emerges a dialogue where the old distinctions between furniture, decoration and art are mixed. All is tangled, covering the tracks and the conventions. On the first floor the tension mounts. Another waiting room. This one is much smaller, the ceiling is low and the two doors are closed. Covered with a cave-painting-like wallpaper, one would think to be inside a grotto, a cavern, the den of a doctor with strange tastes. Music alternates with a video, which, again, reminds us of this feeling of waiting. Keep on waiting, you are the next on the list. E.B. A book developed by Elvire Bonduelle and published by the gallery will complement the exhibition. Launch projected on July 11th 2013. The exhibition will be exceptionally closed from June 25th until July 6th 2013. galerie laurent mueller 75 rue des Archives 75003 Paris France T: +33 1 42 74 04 25 galerie laurent mueller Galerie Francesca Pia, Zurich
Elad Lassry
Untitled (Isopod), 2013
C-print, walnut frame, 4-ply silk
36.8 x 29.2 x 3.8 cm
Courtesy of the artist and Galerie Francesca Pia, Zurich
ELAD LASSRY
8 June – 20 July, 2013 Galerie Francesca Pia is pleased to announce its second solo exhibition of new work by Elad Lassry. Whether in his standard 11"x14" pictures or his pseudo-structuralist films, Lassry sets pre-determined rules that reflect invented systems of significations: cultural systems are proposed as means to channel multiple histories, which in turn allows them to cancel each other out and finally dissolve, asking for the opportunity for a new picture to arrive. In a new body of work exhibited here, the task is to address questions around pictures while avoiding the ubiquitous outlet of the digital, at least in the gestural sense. All works were strictly limited to analog procedures by utilizing manipulative darkroom printing, altered negatives, and tailored fabric units. Lassry is interested in locating a contemporary condition that is outside of current technology. The pictures are thus acknowledged as both fleeting and concrete. They are at once carriers of photo- journalistic "integrity" and vessels of decorative, formalist, and physically intervened, interfered and augmented presence. In Untitled (Panel, Yellow), 2013, the viewer is presented with a sequence of film production stills fitted into a zebrawood plank that serves as an extended frame. The panel features a series of carved marks located consecutively below the photographs, calling attention to the cultural tension between the physical and mediated image. With this exhibition, Lassry continues to define a territory for the picture that resists the historical: any notions of fixed indexicality that have arisen throughout the artist's earlier projects are subjected here to a process of stubborn cancellation, complicating even further the perceptual response to the picture, as well as the terms on which pictures coalesce as seemingly singular entities. In 2014, Lassry's work will be the subject of a solo exhibition at Museum Boijmans Van Beuningan in Rotterdam. Solo exhibitions devoted to his work have also been held at Kunsthalle Zurich, Switzerland; The Whitney Museum of American Art, New York; Padiglione d'Arte Contemporanea, Milan; and the Contemporary Art Museum, St. Louis. Recent group exhibitions include Film as Sculpture, WIELS Contemporary Art Centre, Brussels; Beyond. International Curator Exhibition of Tallinn Month of Photography, KUMU Art Museum, Tallinn, Estonia; The Anxiety of Photography, Aspen Art Museum;Secret Societies. To Know, To Dare, To Will, To Keep Silence, Schirn Kunsthalle Frankfurt and CAPC de Bordeaux, Time Again, SculptureCenter, New York; and New Photography 2010, Museum of Modern Art, New York. Galerie Francesca Pia Limmatstrasse 268 CH-8005 Zurich Switzerland T: +41 44 271 24 44 Galerie Francesca Pia |
i8 Gallery, Reykjavik
ÓLAFUR ELíASSON
Tiltrú
Installation view
i8 Gallery, Reykjavik, 2013
ÓLAFUR ELíASSON
Tiltrú 06 June - 17 August 2013 Icelandic nature is prominent in Elíasson's work, and his artistic relationship with it often involves collection or documentation that is scientific in tone. The country becomes a sensory laboratory where ideas can be developed and evolved into art, as evidenced in the multiple photographic series that would seem to witness a near compulsive need for collecting. To collect, classify, and manipulate natural objects or phenomena is one way to find one's bearings in reality and to gain control over it. As this implies the cataloguing, framing, and sometimes distorting of reality, photography is an important part of the artist's investigation. The hut series, 2012 exemplifies the theme running through the exhibition. In the wilderness we suddenly encounter a hut that may save our lives if it appears in a cold and foggy night. The shelter it provides carries with it certain lyrical references; it is isolated in the untamed landscape, but at the same time it can function as a meeting place for travellers or men rounding up sheep in the highlands. They meet for a short period, exchange views and experiences, and travel on. The artist chose to photograph the huts in early spring, just after the snow had melted but prior to the hiking season, so the shutters would still be in place. The hut series is closely connected to The Reykjavík series that Elíasson made in 2003 when he documented buildings in Reykjavík. The grid placement of the photographs implies a manmade system where buildings are set up in a linear formal arrangement, almost like houses in a street. The idea of The hut series is to create the feeling of a city of huts in the Icelandic outback – a dispersed city that can save lives if we are able to home in on the shelters. Your fading self (west), 2013 is visible from outside the gallery. The large free-standing work, made from glass and held upright by a simple concrete fixture, is partly see-through, partly coated with a subtle dark fade, obscuring the view into the gallery space. The work temporarily destabilizes our conventions of seeing. It invites the viewer to move to the right and the left, to opt for a moving perspective, to see their own reflection gradually fade or emerge. Five wall-mounted triangular mirrors (Hesitant movement sky; Hesitant movement ground; Hesitant movement up; Hesitant movement right and Hesitant you, all from 2013) equally throw the viewer's visual perception off-balance and question familiar ways of seeing. The viewer's perception is sometimes dissolved and sometimes reformed again in a familiar manner. When we move in front of these works we are either lost or we reappear. We find it hard to place ourselves correctly and we become mindful of concepts like centre and periphery that are of course only constructs of our imagination. The viewer is asked to examine the works and to develop their impact with his movements in the gallery. It is necessary for us to trust our own perceptions and intuition. Hanging in the gallery space is an instrument in which we place our complete trust, a compass made of driftwood that is encircled by metal pins of varying lengths, each holding small cylindrical magnets.Trust compass, 2013, is an example of the on-going studies of Elíasson into the instruments that help us with the location and mapping of any given space. Here we enter the world of navigation The placement and length of each pin holding the magnets is calculated according to the Fibonacci sequence and the principle of the golden ratio. The 36 magnets (two placed inside the driftwood at either end) point towards the 360 degrees that we use to define a circle. Our knowledge of magnets leads to an understanding that this is a compass, a tool that can help us navigate the world we inhabit and that can save our lives when we need to find shelter. Despite its unusual appearance, the compass is placed firmly on the north-south axis and helps the viewer to locate himself on his travels through the gallery. The works in the exhibition raise questions of trust in our own senses and in the possibilities of navigating our way through life unscathed. Whether we are traveling toward a set final goal or between points in our daily lives, the journey requires shelter from time to time, as well as acquiring a feeling for our own physical experience in the face of the elements of nature. We need to trust our senses. Text: Gudni Tómasson i8 Gallery Tryggvagata 16 Reykjavik Iceland T: +354 551 3666 i8 Gallery The approach, London
Jack Lavender
Dreams Chunky
Installation view at The Approach, 2013
JACK LAVENDER
Dreams Chunky 6th June – 28th July 2013 Titled 'Dreams Chunky', Jack Lavender's exhibition at The Approach will be his first and will include wall grids, hanging assemblages, floor works and ambient music. Jack Lavender draws from a world of mass-produced objects, transforming their singular banality through their composition within such structures as grids and metal armatures. Sitting between the disciplines of painting, sculpture and collage, Lavender brings different elements together to create a new entity. Objects that would normally be the detritus of our lives are paired with high quality application and construction, retaining a bittersweet trace of their low origins, and re-imagined for their formal qualities within Lavender's growing aesthetic lexicon. Jack Lavender (b. 1983, UK) lives and works in London. Selected exhibitions include; Paradise Garage, Eighty One, London (2013); Chimera Q.T.E, Cell Projects Space, London (2013); Young London, V22, London, 2012, The Approach, London, 2012, Heat, Twelve around One gallery, London, 2012, Chubby Group show, 15 Howie St, London, 2011 and Pale Blue Dot, Woodmill, London, 2010. The approach 1st Floor 47 Approach Road London E2 9LY T: +44 (0) 20 8983 3878 The approach |
VILLA AMIRA, Street Ante Starčevića 33,
|
LP vinyl sell from Bosnia and Herzegovinahttp://lpvinyl.weebly.com/
|
10.6.2013.
galerie frank elbaz, Paris, France
RaebervonStenglin, Zürich, Switzerland
Thierry Goldberg Gallery, New York, USA
blank projects, Cape Town, South Africa
galerie frank elbaz, Paris
Julije Knifer
Untitled, 1978
Graphite on paper
30 x 40 cm
Art Basel – Feature
Hall 2.0/G1 Julije Knifer Solo Show curated by Zarko Vijatovic June 13-16 2013 Julije Knifer was an artist from former Yugoslavia and founding member of Gorgona group, from Zagreb art scene in the early sixties. For Feature galerie frank elbaz exhibits a selection of paintings, drawings, graphite on paper and sculptures, looking back at the creative processes behind some of the artist’s major works to date. At the very beginning of his career, in the 1950s, Knifer established two main artistic strategies: repetition and reduction. For three years (1949–52), every day, he drew a self-portrait. This ritual repetition of his own portrait produced a hundred pictures on identical 35x25cm sheets of paper. The artist’s other process – reduction – is visible in the landscape motif he introduced that led first to abstraction and later to the "meander" symbol. In 1959–60 these two approaches – repetition and reduction – merged into one process. In 1960 Knifer began to paint the meander motif exclusively, after announcing this decision during one of the Gorgona group’s meetings. The meander came to represent both his self-portrait and signature. Using only horizontal and vertical lines, his works were almost 98 percent black and white, drastically limiting artistic expressivity. He declared, "The meander is a form of my freedom". Knifer deliberately relinquished all forms of development and evolution over time in his work. Quotes such as "I have probably already produced my last paintings but maybe not my first ones" might come across as absurd. Still, however fascinated he was by monotonous rhythms and repetitions of a single motif, he managed to produce a surprisingly diverse body of work in spite of the constraints he worked with throughout his career. Born in Osijek, Croatia in 1924, Knifer died in Paris in 2004 after a career embracing Zagreb, Germany, Italy and France. In 2001 he represented his homeland at the Venice Biennale. His works are widely sought and can be seen on display in some of the most important institutions worldwide such as Centre Georges Pompidou, MAMCO, Museum of Contemporary Art, Sydney, Kunstverein, Städlisches Museum, Galerie im Lenbachhaus, etc. galerie frank elbaz 66 rue de Turenne 75003 paris - france T. + 33 (0)1 48 87 50 04 www.galeriefrankelbaz.com Thierry Goldberg Gallery, New York
Ben Grasso
Inside Out, 2013
oil on canvas
87 x 94 inches
Courtesy of Thierry Goldberg Gallery, New York
BEN GRASSO
June 9 - July 14, 2013 Thierry-Goldberg Gallery is pleased to present Ben Grasso’s fourth solo exhibition with the gallery. Grasso continues his dedicated study of the unsettled interplay between the destructive forces of nature and architecture, and, for the first time, examines interior spaces and their connection with the outside world. Perhaps because of Grasso’s prolonged study of the fragility of dwellings and their uneasy union with the phenomena of the physical world, a subtlety exists with these new works, which sees the artist in lockstep with his subject matter and beginning a shift to - dare we say - a more harmonious existence between humanity and nature. This may be a false sense of security however due to his palette of congruous and complementary colors that glow from within or explode with great force, while remaining a visual feast. Grasso does not have a set agenda with his creations and invites the viewer to become a participant in the process, filling in gaps and making their own narrative. One thing is clear; Grasso’s focus on foliage further blurs the line between the chaos and order often present in his work. Several of his canvases feature houses floating in the sky, lifted up by a momentous gust of wind where they hover like alien spaceships in precarious treetops. For the first time, we see what this disruption looks like from the inside out, as orange and yellow brushstrokes bring to mind a fireball of destruction, as much as they do leaves and the autumn season. The outside realm becomes part of the inside space, resulting in a claustrophobic atmosphere where flames or fauna encroach and engulf. Humankind is a secondary and completely absent player in Grasso’s depictions, where each structure takes on a palpable importance, despite their fragility. They may not possess the Vitruvian virtues of solidity and usefulness, but their grandeur is evident despite their other shortcomings. The undeniable physical presence of a structure, no matter its condition, is certainly central to the core of these renderings, which although based on photographic references, retain a sense of anonymity. Without dwelling on nostalgia, they could be seen as relics from the urban decay existing in Grasso’s native Cleveland, Ohio, the rust belt of Detroit or as a result of the deindustrialization that took place in Buffalo, New York. Although still early in his career, Grasso, like Charles Burchfield before him, could be said to conjure the spiritual elements of nature through hallucinatory and dreamlike visions. Ben Grasso (b. 1979, Cleveland, OH) lives and works in Brooklyn, New York. He holds an MFA in painting from Hunter College, New York and a BFA from The Cleveland Institute of Art. A recipient of the Pollock Krasner Foundation Grant and the NYFA fellowship, Grasso has previously exhibited at The Queens Museum, NY; The Amelle A. Wallace Center, Old Westbury, NY; Jerome Zodo Gallery, Milan, Italy; The Reinberger Gallery, Cleveland, OH; and David Klein Gallery, Detroit, MI. His work has been featured and reviewed by Art in America, Time Out New York, Artnet Magazine, Harper's Magazine, The Brooklyn Rail, and the Cleveland Plain Dealer. Thierry Goldberg Gallery 103 Norfolk Street New York, NY 10002 T: +1 212.967.2260 Thierry Goldberg Gallery 
|
RaebervonStenglin, Zürich
Ivan Seal
difi, 2013
Oil on canvas
30 x 24 cm
Courtesy RaebervonStenglin, Zürich
IVAN SEAL
7 June 2013 – 27 July 2013 I remember when I was 18 or so I would go to nightclubs in Manchester and take E or acid and shadows shifting up and down the walls swans, red glass purred me to sleep candle at my mum's ornaments on the shelves above the television and vibrating drone like shadows shifting up and down the walls from the passing cars double vision and blurred drippy colours these shelf lives small dog's licame home I would often sit downstairs staring at my mum's ornaments on shelves above the smok go to nightclubs in Manchester and take E or acid anvision and vibrating dronen sit downstairs staring at my mum's ornaments on shelves above the smok go to nightclubs in Manchester and take E or acid and smoke pot up and down the walls swans re like houses crystal was 18 Manchester so I would go to nightclubs in Manchester and take E or acid and smoke pot up and down the walls swans red glass purred me to sleep candle holders black cats laughing Victd smoke pot up and down the walls swans red glass purred me to sleep candle holders black cats laughing Victorians were glazen Manchester and take E or acid and smoke pot up and down the walls swans red glass purred me to sleep candle holders black cats laughing Victorians were glazed with throbbing ould often sit downstairs staring Manchester and take Es blackor acid oves porcelin dancers wooden vikings smoke pot and when I came home I would often sit downstairs staring Manchester and take E or acid or smoke pothelves above the smok go to nightclubs in Manchester and take E or acid and smoke p and when I came home glazed with throbbing ould often sit downstairs staring Manchester and take E or acid or smoke pot and when I came home I would often sit downstairs staring at my mum's orna pot up and down the walls swans red glass purred me to sleep candle holders black cats laughing Victorians were glazen Manchester and take E or acid and smoke pot up and down thments on shelves abovetelevision brass hedgehogs hairy cavemen smoking houses crystal was 18 or so I would go to were glazed with throbbing dancers wooden vikings brae I would often sit downstairs staring at my mum's ornaments on shelves above the smok go to nightclubs inlves above the television and vibrating drone like shadows shifting up and down the walmok go to nightclubs in Manchester and take E or acid e glazed with throbbing ould often sit downstairs staring Manchester and take E or acid or smoke pot and when I came home I would often sit downstairs staring at my mum's ornaments on shelves abovetelevision brass hedgehogs hairy cavemen smoking houses crystal was 18 or so I would go to were glazed with throbbing dancers wooden vikings bra smoke p and when I came home I would often sit downstairs staring at my mum's ornaments on shelves above thels from the passing cars double vision and blurred drippy colours these shelf lives small py colour Manchester and take E or acid and smoke pot up and down the walls swans red glass purred me to sleep candle holders black cats laughing Victorians were glazen Manchester and take E or acid and smoke pot up and down the walls swans red glass purred me to sleep candle holders black cats laughing Victorians were glazed with throbbing ould often sit downstairs staring Manchester and take E or acid or smoke pot and when I camd with throbbing ould often sit downstairs staring Manchester and E or acid ing houses greens caustic pinks vibrant yellows and vibrating drone like shadows shifting up and down the walls from the passing cars double vision and blurred driphelves above the television and vibrating drone like shadows shifting up and down the walmok go to nightclubs in Manchester and take E or acid and smoke p and when I came home I would often sit downstairs staring at my mum's ornaments on shelves above thels from the passing cars double vision and blurred drippy colours these shelf lives small py colours these television and vibrating drone like houses crystal was 18 Manchester so I would go to nightclubs in Manchester and take E or acid and smoke pot up and down the walls swans red glass purred me to sleep candle holders black cats laughing Victorians were glazed with throbbing ould often sit downstairs staring Manchester and take E or acid or smoke pot and wheep candle holders black cats laughing Victorians were glazed with throbbing ould often sit downstairs staring Manchester and take E or acid or smoke pot and when I camd wen I came home I would often sit downstairs staring at my mum's ornaments on shelves abovetelevision brass hedgehogs hairy cavemen smoking houses crystal was 18 or so I would go to were glazed with throbbing dancers wooden vikings brass hedgehogs hairy cavemen smoking houses greens caustic pinks vibrant yellows and vibrating drone like shadows shifting up and down the walls from the passing cars double vision and blurred drippy colours these shelfs. Ivan Seal was born in 1973 in Manchester. He lives and works in Berlin. Recent solo exhibitions include:‘In Here Stands It’, Spike Island, Bristol (2012), ‘Ivan Seal’, Carl Freedman Gallery, London (2013); ‘the object hurts the space’, RaebervonStenglin, Zürich, Switzerland (2011); ‘I Learn by Osmosis’, CEAAC, Strasbourg (2010); and ‘Two Rooms For A Fall’, Berlin (2009). RaebervonStenglin Pfingstweidstrasse 23 / Welti-Furrer Areal CH - 8005 Zurich Switzerland T: +41 43 818 21 00 RaebervonStenglin blank projects, Cape Town
Jan-Henri Booyens
Ruins of her former self, 2013
Oil on canvas
200 x 170cm
Courtesy of the artist and blank projects, Cape Town
JAN-HENRI BOOYENS
SAVE IT TILL THE MORNING AFTER 06 June - 06 July, 2013 blank projects is proud to host the fifth solo exhibition of critically acclaimed painter Jan-Henri Booyens. Booyens' work is often described in terms of a struggle between the representational and abstract, the rational and chaotic. An affinity and critical engagement with Modernism is coupled with his relationship to the South African landscape, both social and physical. For his latest work, Booyens has affected subtle iconographic shift from forms that allude of the art historical 'landscape' to those of the 'still life'. Booyens’s flower like-forms explode in abstract compositions and assemblages of studio detritus, where form and colour fracture and falter in 70s impasto kitch, Stella stripes, colour supernovas and jpeg disintegration. Booyens has been described as "a forerunner of a new kind of formalism in local art"1. Born in Johannesburg in 1980, he lives and works between Cape Town and Pretoria. He studied at the Durban Institute of Technology and the Gerrit Rietveld Academie voor Beeldende Kunsten in Amsterdam, and currently teaches in the Visual Arts Department at the University of Stellenboosch. Booyens is also one-third of the infamous artist collective Avant Car Guard. His work is part of numerous collections, including the Cartier Foundation for Contemporary Art in Paris. Solo exhibitions include 'The Matt Sparkle' (Whatiftheworld, Cape Town 2008), 'People Used To Dream About The Future' (artSPACE Berlin 2009) and 'Tectonic' (Whatiftheworld, Cape Town 2010). His previous show at blank, 'Strange Days', was held in April 2012. 1 Mary Corrigall, 2012, 'Pulling Things Apart: Jan-Henri Booyens'. blank projects 113-115 Sir Lowry road Woodstock Cape Town South Africa T: +27 72 1989 221 blank projects |
08.6.2013.
AEROPLASTICS, Brussels, Belgium
ELI KLEIN FINE ART, New York, USA
SHOSHANA WAYNE GALLERY, Los Angeles, USA
TAKA ISHII GALLERY, Tokyo, Japan
AEROPLASTICS, Brussels
Terry Rodgers
Marjin, 2013
digital print on Ilford baryta paper
109 x 106 cm, ed. of 5
Courtesy of the artist and Aeroplastics, Brussels
TERRY RODGERS
Approximations of the Sublime 06.06 – 27.07.13 Approximations of the Sublime extends the reflection begun by Terry Rodgers during his first solo exhibition at Aeroplastics Contemporary in 2010. The artist continues to develop an iconography of muscled young men and slender young women, all more-or-less (un)dressed, adopting lascivious poses in a luxurious décor, ostentatious and baroque. Beyond one's first impression, that of a contemplative voyeur snatching a glance of an orgiastic fest, what then suddenly hits you is the absence of rapport amongst the protagonists, the eerie sense of detachment. The characters seem isolated in their own bubbles, gazes never cross. "My paintings describe imaginary worlds born out of 'offers' peddled by the media – luxury, riches, as well as a 'validated' version of beauty and desire – but then always with a dose of reality running through it. Just how difficult is it for the participants to get out of themselves and to 'connect' with one another?" Each composition is realized starting from individual portraits, portraits of persons crossed in the street and asked by the artist to pose for him. These anonymous figures, who had never previously met, are then brought together at the heart of vast compositions. More rarely, they appear alone, but their attitude always suggests the presence of others outside our view. In this process, photography plays a preponderant role – the models are photographed before being painted – but Rogers' approach is decidedly painterly. His technique is perfectly mastered, but has nothing to do with photorealism. It goes right to the essential to better emphasize the play of artificial light on the skin, or to highlight the éclat of a piece of jewellery or a fabric. It is also particularly interesting to see him mutate into a veritable photographer, because these images are fundamental to understanding the thinking that underlies his work. Contrary to his paintings, the photographs have no special set or setting: the models emerge against a black background, plain, and appear as still more fragile and solitary. Beautiful as they may be (and indeed are), the bodies do not have the perfection that the brush provides them. And what is more, they do not benefit from the eternity that painting brings: they again become mortal. A third level of entry into Rodgers' work is provided by the video that gives this exhibition its title,Approximations of the Sublime. From the fixed image, painted or photographed, we pass to the moving image. And what is suggested in the photography is confirmed in the video: under the projectors' heat, bodies suffer and sweat, simply become human again. Beneath the superficial outsides, the œuvre of Terry Rodgers consistently testifies to what it is – deeply humanist. And the sublime is inevitably only approximate, given that we're talking human beings here. The lightboxes comprise a synthesis of these different approaches. "Here, I'm playing with several techniques to render perceptible, simultaneously, our rapport with the world. And I make this distinction between the different languages clear – the cut-outs are intentionally approximate, visible." For the artist, this procedure is a metaphor for a word composed of a multitude of fragments, that we wrongly perceive as a uniform whole: "We have the tendency to forget that everything we see, or bear, is 'invented'. Our experience of life is like a multidimensional game where the pieces are constantly in motion." And these models, constantly in motion as well, are like pieces in this grand game. - Pierre-Yves Desaive AEROPLASTICS contemporary 32 rue Blanche 1060 Brussels Belgium T: 32 2 537 22 02 AEROPLASTICS SHOSHANA WAYNE GALLERY,
|
ELI KLEIN FINE ART, New York
Liu Bolin
Hiding in California No. 2 - Hollywood, 2013
Photograph
44 1/4 x 59 inches (112.5 x 150 cm)
Courtesy of the artist and Eli Klein Fine Art, New York
LIU BOLIN
"Mask" June 6 - July 21, 2013 The show is a reflection of Liu Bolin's multifaceted and complex view of contemporary society and culture. The critically acclaimed and internationally renowned artist will release the first works of a new series, Hiding in California. He will also showcase new works from his famed Hiding in New York series, including an image in front of the harbored aircraft carrier - the Intrepid, as well as his collaboration with French artist JR. In addition to these works, the artist will unveil a highly anticipated new body of sculptures entitled Mask, which craft an inquisitive contemporary commentary through a playful but contemplative twist on traditional Peking Opera masks. In Liu Bolin's new series, Hiding in California, the artist makes use of his famed process to blend into the background of the iconic Hollywood sign in addition to the pioneering TED stage. Hiding in California No. 1 - TED speaks to the innovative, creative, and groundbreaking minds that take to the TED platform to affect change in the world. It is a representation of the speakers - Liu Bolin himself included - who compile their ideas and their efforts under the TED banner in order to spread their message and craft a better tomorrow. Hiding in California No. 2 - Hollywood is a representation of the countless individuals who dedicate themselves to the entertainment world that Hollywood has come to symbolize. It also serves as a representation of those who are lost and forgotten in the pursuit of the fame that Hollywood epitomizes. Both of these works speak to an America that is in many ways similar to the themes the artist portrayed in the Hiding in New York series. In an expansion of his Hiding in New York series, Liu Bolin's photograph, Hiding in New York No. 6 - Intrepid, is a multifaceted work speaking to both the prevalence of American strength as well as the consequence of military dominance. Mask is a new body of sculptures that craft a contemporary twist on traditional Peking Opera masks. Peking Opera masks are traditional forms of art that are used to depict heroes, legends, and gods found in Chinese history and culture. They are symbolic reflections of Chinese society and its values. By recreating these masks using the advertising and labeling of popular food and drink products seen throughout China, Liu Bolin addresses the rapidly changing, highly commercialized values of Chinese society. By adding a necessary layer to these works-welding masks - Liu Bolin speaks to the dangers Chinese face in their contemporary society. With constant risk of food and drink contamination, living in China can feel as dangerous as working with molten hot metal. For this reason, the series Mask - an evolution of a traditional art form - is intensely provocative. Liu Bolin was born in China's Shandong province in 1973, and earned his Bachelor of Fine Arts from the Shandong College of Arts and his Master of Fine Arts from the Central Academy of Fine Arts in Beijing. His work has been exhibited in museum shows around the world including recent solo exhibitions "Liu Bolin," Kunstverein Ludwigsburg, Ludwigsburg (2013); "Liu Bolin, Camouflages Urbains" Fondation d'Entreprise Espace Écureuil Pour l'Art Contemporain, Toulouse (2013); "Liu Bolin: The Invisible Man," Brattleboro Museum and Art Center, Brattleboro (2013); "Liu Bolin," The Longyear Museum of Anthropology, Colgate University, Hamilton (2012-2013); "Liu Bolin: A Secret Tour," Museo H.C. Andersen, Galleria Nazionale d'Arte Moderna, Rome (2012) and "The Invisible Man," Ekaterina Cultural Foundation, Moscow (2012). Mask will be on view at Eli Klein Fine Art from June 6th through July 21st, 2013 and is accompanied by the release and signing of Liu Bolin's new book, "Being Ghost." Meticulously compiled by the artist, this limited edition 250 page book contains over 400 color illustrations, many of which are published for the first time. It includes never before seen writings by Liu Bolin that illuminate his work in a powerful new light. ELI KLEIN FINE ART 462 West Broadway New York, NY 10012 T: +1 212 255-4388 ELI KLEIN FINE ART TAKA ISHII GALLERY, Tokyo
Nobuyoshi Araki
"EroReal", 2013
RP direct print
paper size: 50.8 x 61 cm
Courtesy of the artist and Taka Ishii gallery, Tokyo
NOBUYOSHI ARAKI
"EroReal" May 25 – Jun 22, 2013 Taka Ishii Gallery (Kiyosumi Tokyo) is pleased to present Nobuyoshi Araki's solo exhibition "EroReal" from May 25 to June 22. "EroReal" will be Araki's 20th solo exhibition at Taka Ishii Gallery and it will include 50 works, which Araki selected based on the criteria of eroticism and reality. Magazine pin-ups aren't interesting, are they? Especially now that they're shot digitally, they lack eroticism. They're doing it wrong. That's why I had to come in. It's not about an ambiance or concept; it's about being real. Not realism, but real—ero-real. I have to say it straight. It's not about nudity; clothed subjects can be erotic. There's eroticism in the moments before undress and before being tied up. That element of implied eroticism has to be there. An image of a person just sitting in a hotel room can have what I call "erotic presence" because it anticipates the sexual relation that's going to follow. Trust me, this is what today's erotic photography needs. – Nobuyoshi Araki, April 8, 2013 Nobuyoshi Araki's photographs have always posed questions regarding how one forges relations with others and develops those relations in a meaningful manner. Eros and Thanatos, the fundamental themes of Araki's works, have been interpreted in numerous ways through the various interpersonal relations he captures in his images. In the works of the current exhibition, Araki argues for the importance of what he calls "ero-real" photography in response to the clichéd visual expressions he sees in the pin-up photography disseminated throughout Japan. For him, the "erotic presence," which comes into being prior to the development of interpersonal relations, enriches any relationship that follows. We sincerely hope you will take this opportunity to experience the works of Araki, who continues to employ uniquely photographic techniques to capture various moments of human life. TAKA ISHII GALLERY 1-3-2 5F Kiyosumi, Koto-ku #135 0024 Tokyo Japan T: +81 (0) 3 5646 6050 TAKA ISHII GALLERY 
|
03.6.2013.
|
SOLO SHOWS
BY SELECTED GALLERIES St Jakobshalle Basel 12-16 June 2013 St Jakobshalle Brüglingerstrasse 19-21 Basel |
How to get there
10 minutes from Messeplatz to St Jakobshalle by Tram N° 14 (direction Pratteln).
A free shuttle-bus service connects the-solo-project with Art Basel, Schaulager, Tinguely Museum and Volta 9.
Hours
Wednesday June 12: 12 noon till 8 pm
Thursday June 13: 10 am till 7 pm
Friday June 14: 10 am till 7 pm
Saturday June 15: 10 am till 7 pm
Sunday June 16: 10 am till 5 pm
10 minutes from Messeplatz to St Jakobshalle by Tram N° 14 (direction Pratteln).
A free shuttle-bus service connects the-solo-project with Art Basel, Schaulager, Tinguely Museum and Volta 9.
Hours
Wednesday June 12: 12 noon till 8 pm
Thursday June 13: 10 am till 7 pm
Friday June 14: 10 am till 7 pm
Saturday June 15: 10 am till 7 pm
Sunday June 16: 10 am till 5 pm
Pedro Calapez
Horizonte Sobreposto # 2, 2012
acrylic on canvas
200 x 180 cm
Courtesy of Arthobler Gallery, Zürich
The Solo Project returns to Basel from June 12 - 16 2013. In the main section galleries will show solo presentations ranging from young artists to established positions.
Moving art is dedicated to art videos. Galleries without a booth at the fair can present one video each in a special projection space. Young Solo with small booths gives participating galleries the opportunity to present one young artist. the-solo-project offers a unique concept for the format of the satellite fair parallel to Art Basel. Its aim is to promote the relationship between collectors and artists and their art. The participating galleries perceive themselves primarily as mediators and not as mere sales-outlet. Solo presentations approximate the exhibition character in the gallery as closely as possible. 
Tinka Pittoors
Thoughtbubble, 2013
epoxy, ceramics, mirrors, wood and chain
47 x 75 x 57 cm
Courtesy of Galerie Triangle Bleu
Claire Dorsett
My Big Zen Answer Is..., 2010
acrylic on canvas
200 x 200 cm
Courtesy of George & Jørgen, London
PARTICIPATING GALLERIES
Aeroplastics Contemporary, Brussels Leonardo Agosti, Sète Galerie Albrecht, Berlin Arthobler, Zurich L’Atelier, Berlin Beers.Lambert Contemporay, London Galerie Renate Bender, Munich Bodson Gallery, Brussels Galerie Jean Brolly, Paris Galeria Caném, Castello Galerie Marie Cini, Paris Galerie Dakota, Brussels Galerie de Roussan, Paris Galerie Patricia Dorfmann, Paris Galerie Robert Drees, Hannover dr julius | ap, Berlin Galerie Dominique Fiat, Paris Galerie Frey, Vienna George and Jørgen, London Galerie Gourvennec Ogor, Marseille Galleria H, Taipei Galerie Lisi Hämmerle, Bregenz Galerie Emmanuel Hervé, Paris Galerie Hollenbach, Stuttgart Galerie Catherine Issert, St Paul Kusseneers Gallery, Brussels www.the-solo-project.com |
Eckart Hahn
Hackblock, 2010
lindwood/axe/varnish
90 x 40 x 40 cm
Courtsey of Galerie Rothamel
From 2013, collecting as an engagement with artists and their art will be accorded an even more central role in the concept of the-solo-project. Collectors will be given the opportunity to assume the intellectual patronage for one of “their” artists. By invitation of the exhibitors, each collector will be granted one page in the catalogue, in which they may explicate their passion for the exhibited position. All collectors are given carte blanche for the way in which they approach their subject.
A bus-shuttle connects the-solo-project with Art Basel, Volta, Schaulager and Tinguely Museum. There is a direct tram connection between Art Basel and the-solo-project (Line 14). There is also a public parking garage at the back of the building. With its unique focus, pleasant ambiance and easy access, the Solo Project offers an alternative to the mercantile hustle and bustle of Basel during the fair week. 
Evol
Volksverstarker, 2010
spraypaint on cardboard
53 x 67 cm
Courtesy of Bodson Gallery, Brussels
L.E.M. Galeria, Felanitx
Lot 10, Brussels Galerie Lindner, Vienna Galerie Linz, Paris Galerie Mazel, Brussels Galerie Eva Meyer, Paris Nuartlink, Westport Nosbaum & Reding, Luxembourg Olschewski & Behm, Frankfurt/Mannheim Peithner-Lichtenfels, Vienna Python Gallery, Zurich Cynthia Reeves, New York Galerie Rothamel, Erfurt/Frankfurt Galerie Sator, Paris Michael Schultz Gallery Beijing, Beijing Galerie Michael Schultz, Berlin, Seoul, Beijing Galerie Michael Sturm, Stuttgart Galerie Supper, Baden-Baden TM project, Geneva Triangle Bleu, Stavelot Hidde Van Seggelen Gallery, London Galerie Voss, Düsseldorf Vous etes ici, Amsterdam Whiteconcepts, Berlin XPO, Paris Galerie 22,48m2, Paris 
Huang He
Open Eyes. Close Eyes No. 2, 2012
oil on canvas
200 x 200cm
Courtesy of Michael Schultz gallery Beijing
|
ALMINE RECH GALLERY, Paris, France
DAVID ZWIRNER, New York, USA
PIPPY HOULDSWORTH GALLERY, London, UK
MEYER RIEGGER, Karlsruhe, Germany
ALMINE RECH GALLERY, Paris
James Turrell
'Prado, Red' , 1968
Light projection installation
Dimension variable
Courtesy of the Artist and Almine Rech Gallery, Paris / Brussels
JAMES TURRELL
1 June - 27 July 2013 The Almine Rech Gallery is pleased to present its seventh solo exhibition of James Turrell since 1999. In 1990, Almine Rech organized his first gallery exhibition in Europe with a Light Piece entitled "Blood Lust". "I use light as a material to work the medium of perception, basically the work really has no object because perception is the object. And there is no image because I am not interested in associative thought." — James Turrell "In 1966 and 1967, James Turrell laid down the basis of his work in one bright flash when he realized the PROJECTION PIECES series, where each work used a halogen quartz spothlight to project a specific form of light into the angle of a corner or flat onto a wall. In a kind of way UFOs landing in the Occidental art world of the 1960s, the PROJECTION PIECES were recognized and understood by few. Back then, California was a relatively distant territory on the geographical map of Occidental contemporary art. "A land of experiences and freedom", says James Turrell, who was able to show all the Projections in 1967 at the Pasadena Art Museum1 and, along with the artist Robert Irwin and the perceptual psychologist Edward Wortz, receive sponsorship from the Los Angeles County Museum of Art in the Art and Technology rooms – some black and sound-proofed, others flooded with coloured light – in order to explore the effects that spending time in these circumstances would have on our vision. These experiments were used as studies for later works conceived in the 1970s and 80s." 2 This solo exhibition of James Turrell presents a historical work from 1968 - "Prado, Red", a projection which is part of the his first iconic series and was shown at the Pasadena Art Museum; his Light Reflection pieces created in 2012, which capture light in three dimensions and made by the artist in Arizona; as well has his models of the Roden Crater made in bronze, plaster and resin. James Turrell was born in 1943 in Los Angeles, he lives and works in Arizona. In 2013, James Turrell is the subject of a major 3-part retrospective in the United States which will be inaugurated on May 26 at the LACMA in Los Angeles, then at the Museum of Fine Arts in Houston on June 9th, and finally at the Guggenheim in New York on June the 21st. 1] Exhibition “James Turrell”, Pasadena Art Museum, California, 1967. One piece was sold and the exhibition drew a critical interest within the art community. 2] Text extract from Rencontres 9 James Turrell / Almine Rech. Almine Rech Éditions / Éditions Images Modernes, 2005. Le regard en suspens, p. 37-144. ALMINE RECH GALLERY 64 Rue de Turenne F-75003 Paris France T: +33 (0)1 45 83 71 90 ALMINE RECH GALLERY PIPPY HOULDSWORTH GALLERY, London
Ruth Claxton
Specular Spectacular (Baroque Woman and Shepherd), 2012-13
found ceramic figurine, mirrored blown glass
Courtesy of the artist and Pippy Houldsworth Gallery, London
Photo by Stuart Whipps
RUTH CLAXTON
Specular Spectacular 7 June - 6 July 2013 Pippy Houldsworth Gallery is delighted to host Ruth Claxton's first solo exhibition in London. Claxton will present a new installation, Specular Spectacular (Cheryl, Jo, Joanne, Elinor, Claire, Anna), made specifically for the gallery. Specular Spectacular is a complex maze that occupies the 'centre stage' of the gallery. Interconnecting structures hold mirrors that both become part of and reflect the installation itself. Worlds within worlds are housed here, and inhabited by found figurines that are themselves swallowed up by amorphous reflective masks. Claxton's installation draws upon real and virtual architectures. Recently becoming interested in the physicality of the internet and computer-generated space, Claxton has taken the classic Windows™ 'Pipes' screensaver as a starting point for the geometric structure she has created. Specular Spectacular explores what happens when this propositional space becomes actual, from its 'human' dimensions to its temporal character. With the birth of a kind of avatar, Claxton has created a realm where expectations and conventions are disrupted and challenged. This installation explores what it might mean to make a structure female, and the 'wrong' size. Inverting the maleness of classic Vitruvian proportions, she decided to use her own hand as the unit of measure for each of the sections of piping. And in deploying this new factor, Claxton's references to an architecture that is used to demarcate public and social space, from balustrades to table-tops and building signage, are somehow skewed and abstracted. Whilst these architectonic reference points suggest a use and a function for the installation itself, they are both inherently disorientated and disorientating; challenging the viewer to consider what might be embodied in the experience of this unified abstract whole. As a development of Claxton's contribution to the Guangzhou Triennial 2012, this new installation works through ideas of 'touch' and 'taking care of the body'– ideas that might conventionally be perceived as feminine. After initially fabricating the underlying armature, she has invited a group of women to spend time with her in the studio applying clay to the structure. From the meditative marks to the squeezed areas of clay, this organic layer provides a material index of the conversations Claxton has had with her collaborators, capturing their levels of concentration and distraction, as well as evidence of their engagement with the object itself. Claxton is interested in the fugitive nature of objects, and the way in which they might render themselves and 'hold surface'. As well as creating touched clay structures, she embeds mirrors in the clay and finally silver-leafs them to produce objects and structures that undergo subtle changes when activated by the viewer's body and gaze. The steel, mirror and glass construction Claxton has developed creates a kind of landscape for smaller figurative pieces to exist within, using scale, reflective surface and the physical experience of moving through the work to create an expanded space. The figurines are at once embedded within the installation, their form mirrored and continued in their blown glass masks that become one with the overall organic, mirrored structure, whilst also providing a kind of frozen counterpoint to viewers themselves – who are also masked from garnering a view of the 'whole'. All surfaces are rendered by the environment around them and rather than being static, reveal themselves as a constantly shifting set of viewpoints which fix, multiply and collapse as one moves through and around their perimeter. Ruth Claxton was awarded the 2012 Arts Foundation Sculpture Fellowship. She was commissioned to make a site-specific installation for the Guangzhou Triennial 2012, China, and has recently completed a permanent sculptural installation for the Grundy Art Gallery, Blackpool, acquired by the Contemporary Art Society, London. Recent exhibitions include solo shows at SITE Santa Fe, Santa Fe; Spike Island, Bristol; Ikon Gallery, Birmingham; Grundy Art Gallery, Blackpool; Oriel Davies, Newtown, Wales; Faye Fleming and Partner, Geneva; and Ingleby, Edinburgh. Other shows and projects include Undone, Henry Moore Institute, Leeds; Remake, Remodel, National Glass Centre, Sunderland; The Figurine Dialogue, Crystal Palace, Stockholm; Known Unknowns, Gallery Loop, Seoul; Daybreakers, John Hansard Gallery, Southampton; and An Archaeology, Zabludowicz Collection, London. She has completed public art works for Situations (Wonders of Weston, Weston-super-Mare) and Meadow Arts (House of Beasts, Attingham Park). PIPPY HOULDSWORTH GALLERY 6 Heddon Street London W1B 4BT T: +44 (0)20 7734 7760 Mon-Fri 10-6, Sat 10-4 PIPPY HOULDSWORTH GALLERY 
|
DAVID ZWIRNER, New York
Jeff Koons
Gazing Ball (Ariadne) , 2013 (detail)
Plaster and glass
Image courtesy of the artist and David Zwirner, New York
JEFF KOONS
Gazing Ball May 8 - June 29, 2013 David Zwirner is pleased to present Gazing Ball, the gallery’s inaugural exhibition with Jeff Koons. On view at 525 and 533 West 19th Street, this major show of sculptures marks the world debut of a new series by the artist. It is his first New York gallery solo exhibition of new work in a decade, and the first solo presentation of his work in the city since On the Roof at The Metropolitan Museum of Art in 2008. Gazing Ball takes its name from the mirrored spherical ornaments frequently found on lawns, gardens, and patios around Koons’s childhood home in Pennsylvania. Their unique visual qualities allow viewers to see around corners while absorbing them and their entire surroundings within one image. Koons has made use of highly reflective curved surfaces in his sculptures from the mid-1980s onwards, and the gazing balls can be seen to echo the consummate attention to detail and materiality found throughout his oeuvre. The artist notes on the series: "I’ve thought about the gazing ball for decades. I’ve wanted to show the affirmation, generosity, sense of place, and joy of the senses that the gazing ball symbolizes. TheGazing Ball series is based in transcendence. The realization of one’s mortality is abstract thought and from there, one is able to have a concept of the external world, one’s family, community, and a vaster dialogue with humankind beyond the present. The Gazing Ball series is based on the philosopher’s gaze, starting with transcendence through the senses, but directing one’s vision (the philosopher’s gaze) towards the eternal through pure form and ideas." Hand-blown from glass, the blue gazing balls have been placed on white plaster sculptures depicting signature examples of antique statues from the Greco-Roman era along with everyday utilitarian objects encountered in today’s suburban and rural landscape, such as mailboxes and a birdbath. While Koons’s sculptures to date have involved time-intensive processes in metal and stone, the plaster represents a distinct point of departure. Regularly used in the nineteenth century to create casts of older works, its immediacy was particularly favored by modernist artists including Picasso, whose works in the medium Koons cites as a source of inspiration. In Gazing Ball, the pristine whiteness of the sculptures stands in stark contrast to the brightly colored spheres, which subtly alter their appearance based on available lighting and nearby elements. Yet, the gazing balls’ seriality throughout the exhibition creates an element of continuity across stylistic genres and epochs that inspires a dialogue between old and new, classical and commonplace. A major retrospective of the artist’s work, curated by Scott Rothkopf, will be opening in 2014. The venues include the Museum of Contemporary Art, Los Angeles, the Whitney Museum of American Art, New York, and the Centre Georges Pompidou, Paris. Jeff Koons (b. 1955) had his first solo exhibition in 1980 at the New Museum in New York. In 1988, his first American survey was held at the Museum of Contemporary Art in Chicago. From 1992 to 1993, an international retrospective toured between the Stedelijk Museum, Amsterdam; San Francisco Museum of Modern Art; Staatsgalerie Stuttgart, Germany; Walker Art Center, Minneapolis; and the Aarhus Kunstmuseum, Denmark. Solo exhibitions from the past decade include those organized by the Museo Archeologico Nazionale, Naples, 2003; Astrup Fearnley Museum of Modern Art, Oslo, 2004 (traveled to the Helsinki City Art Museum, 2005); Château de Versailles, France, 2008; Museum of Contemporary Art Chicago, 2008; The Metropolitan Museum of Art, New York, 2008; Neue Nationalgalerie, Berlin, 2008; Serpentine Gallery, London, 2009; Scottish National Gallery of Modern Art, Edinburgh, 2011; Fondation Beyeler, Basel, 2012; and the Schirn Kunsthalle Frankfurt and Liebieghaus Skulpturensammlung, Frankfurt, a joint exhibition in 2012. Work by the artist is held in numerous public collections, including The Broad Art Foundation, Santa Monica, California; Hirshhorn Museum and Sculpture Garden, Washington, D.C.; Los Angeles County Museum of Art; Museum of Contemporary Art, Tokyo; The Museum of Modern Art, New York; National Gallery of Art, Washington, D.C.; San Francisco Museum of Modern Art; Stedelijk Museum, Amsterdam; Tate Gallery, London; and the Whitney Museum of American Art, New York. He lives and works in New York. DAVID ZWIRNER 525 West 19th Street New York, NY NY 10011 T: +1 212-727-2070 DAVID ZWIRNER MEYER RIEGGER, Karlsruhe
Meuser
Kopfkissen, 2013
metal, paint
125 x 100 x 25 cm
Courtesy of the Artist and Meyer Riegger
MEUSER
Kopfkissen ohne Bettdecke 17 May - 6 July, 2013 Approximately two years ago I spent a few days in Meuser's house in Düsseldorf-Lohausen. I was in the process of moving to Düsseldorf, and Meuser offered me his attic flat for a short transitional period. There was a bed, a table, a chair, a lamp. Aeroplanes flew by over the house, behind it was an overgrown garden with large trees and many blossoms. Not far away from the house lies the Rhine, which winds in a loop and holds the Lantz'sche Park in its curve. Meuser and I spent some days here together. On the Sunday after my arrival, he mended the ladies' bicycle and showed me around the area. We drove down straight roads through fields, past paddocks over the dyke in the direction of Kaiserswerth, then through the park, Meuser always taking the lead, his tie and coat in the wind. He was ahead of me in many ways, particularly in the mornings. When I stepped out from my small residence under the roof, it appeared as if he had already been sitting at the large wood table in the living room for hours. To his right side was the terrace door, his gaze was focused on the sheet of paper before him with concentration. I watched him like this a few times without asking. But I wondered, I was curious. After some days I asked him what he was doing there. Lottery numbers, he said. On the sheet he drew small boxes of consistently equal size, and filled them thoughtfully, sometimes ruminatively, but deliberately and steadily with numbers. In these morning hours, drinking tea, it was difficult for me to determine where these combinatorics were supposed to lead. Meuser carried out each action with great concentration, keeping his eye on the result. This movement compelled me to spin it further my own thoughts. I asked myself, how it would look, if one were to assign a word or a sentence to each number which he noted in his mathematical cartography. A breach of logic would be the result, returning fragments, a circling of thoughts, a perception in loops. In the evenings I read Meuser's catalogues. In the book "Knautsch" there is a conversation between him and Franz Ackermann, at one point they speak of the banality of language, of own forms of language, which Meuser describes with the example of the Ruhrpott, its special dynamics, its unexcited self-assertion, following the thought: "Once without everything." My idea, which emanated from his lottery numbers, did not let me go. I bought postcards and sent them to my friends in Karlsruhe, the place which I was leaving for Düsseldorf. I assigned a number to each sentence, then I set an arbitrary sequence of numbers to this allocation, in order to break up the meaning of the writing, to give the individual sentences a new context of meaning, viewing the recombination of the individual elements at the fore. I called this form: coded poems. This form underlies my present approach to his work, new sculptures and drawings, which he is showing in his current solo exhibition at Meyer Riegger Karlsruhe. 1 Objects made of metal, seem found 2 The material substance is shaped and positioned 3 Sanded, polished, painted surface texture 4 Local reference 5 Dusty coal hatching on a dull ground 6 Space and body form space-bodies 7 Gestures of action, minimal 8 Autonomous narration, demarcation of structure 9 Outcome: Contour and shape 7 2 4 8 1 3 9 4 4 6 2 7 3 1 8 5 6 9 7 2 7 3 6 Christina Irrgang Düsseldorf, May 2013 translation by Zoe Miller MEYER RIEGGER Klauprechtstr. 22 D - 76137 Karlsruhe Germany T: +49 (0) 721 821292 MEYER RIEGGER |
Izložbe I - Exhibitions I
.
Copyright © 2014 DIOGEN pro cultura magazine & Sabahudin Hadžialić
Design: Sabi / Autors & Sabahudin Hadžialić. Design LOGO - Stevo Basara.
Freelance gl. i odg. urednik od / Freelance Editor in chief as of 2009: Sabahudin Hadžialić
All Rights Reserved. Publisher online and owner: Sabahudin Hadžialić
WWW: http://sabihadzi.weebly.com
Contact Editorial board E-mail: [email protected];
Narudžbe/Order: [email protected]
Pošta/Mail: Freelance Editor in chief Sabahudin Hadžialić,
Grbavička 32, 71000 Sarajevo i/ili
Dr. Wagner 18/II, 70230 Bugojno, Bosna i Hercegovina
Design: Sabi / Autors & Sabahudin Hadžialić. Design LOGO - Stevo Basara.
Freelance gl. i odg. urednik od / Freelance Editor in chief as of 2009: Sabahudin Hadžialić
All Rights Reserved. Publisher online and owner: Sabahudin Hadžialić
WWW: http://sabihadzi.weebly.com
Contact Editorial board E-mail: [email protected];
Narudžbe/Order: [email protected]
Pošta/Mail: Freelance Editor in chief Sabahudin Hadžialić,
Grbavička 32, 71000 Sarajevo i/ili
Dr. Wagner 18/II, 70230 Bugojno, Bosna i Hercegovina