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DIOGEN pro culture magazine presents you / DIOGEN pro kultura magazin vam predstavlja
Exhibitions worldwide / Izložbe širom svijeta
2014.
16.4.2014
Dolsko pri Ljubljani
Slovenia
| razstava_pr_krac_apr_14_vabilo.pdf |
15.4.2014
Video festival Natures 11 - Narave 11
Bezigrad-Gallery 2 Ljubliana (Slovenja)
April 15. 2014 - April 20. 2014 (19.00)
http://www.mgml.si/en/bezigrad-gallery-2/
http://www.mgml.si/en/bezigrad-gallery-2/events-and-exhibitions-499/
The video works presented at the Festival Natures are based on images of nature, or else include images of nature in some of their sequences, or are derived from things found in nature.
The video works presented at the Festival Natures are based on images of nature, or else include images of nature in some of their sequences, or are derived from things found in nature.
Also in the nature of human existence and living, in the relations between past and present events, and the responses to them.The Video Festival Natures is marked by people and their natures.
Miloš Bašin
Artists:
Jana Beltran, Barbara Drev, Kevin Evensen, Leja Hočevar, Katja Hrvatin Jazbec, Andrej Hrvatin, Urša Kastelic, Markus Keim, Beate Hecher, Izabela Ołdak, Ruben van Klaveren, Roberta Orlando, Asa Shimada, Leyla Rodriguez, Cristian Straub, Gruppo SINESTETICO, Simon Šerc, Ellen Wetmore in Valerie Wolf Gang.
Programm:
• Lobby
Katja Hrvatin Jazbec, Andrej Hrvatin,
Nebo poje mi / Sky Sings to Me, 2012, 37.56 min
• Hall 1
Markus Kleim, Beate Hecher,
Terrain Vague / Minljivi prostor, 2011, 13 min
Roberta Orlando, Asa Shimada,
Real Boundary of Self / Prava meja jaza, 2013, 6.31 min
Gruppo Sinestetico,
Flux-Us Sound / Zvok Flux-Us, 2007, 9.48 min
• Hall 2
Jana Beltran,
Ne veš / You Don't Know, 2012, 1.57 min
Barbara Drev,
Chopped Infinity / Sesekljana neskončnost, 2014, 1.22 min
Kevin Evensen,
Sončnice / Sunflowers, 2014, 1.47 min
Leja Hočevar,
Wintertime / Zima, 2014, 1.59 min
Simon Šerc,
Odkrivanje / Discovering, 2010, 2.49 min
Urša Kastelic,
Unten durch / Spodaj skozi, 2013, 3.53 min
• Hall 3
Valérie Wolf Gang,
Freedom 2.0 / Svoboda 2.0, 2012, 3.27 min
Izabela Ołdak in Ruben van Klaveren,
In the Shadow of the Full Moon / V senci polne lune, 2013, 03.37 min
Ellen Wetmore,
Leaving my Skin / Zapuščam svojo kožo, 2014, 2.44 min
Leyla Rodriguez, Cristian Straub,
Isle of Lox “Origins” / Otok Lox »Izvor«, 2009 – 2011, 4.37 min
_
Jana Beltran, You Don't Know, 2012, 1.57 min
The video was made for the song You don't know.
I achieved the effect of a natural landscape intertwining with the inner landscape of the lyric subject by layering different media and poetry, speech, music and video to support both the atmosphere and the content of the song.
Barbara Drev, Chopped Infinity, 2014, 1.22 min
Undulation creates a pattern of infinite movement. Geometrised elements are breaking the continuous movement of water. They seem disturbing and obtrusive, and so does the background sound. Yet these opposing elements share some common threads.
Kevin Evensen, Sunflowers, 2014, 1.47 min
Music: Kevin Evensen
Performing: Troy Callaway
»I started spellbound. The flower heads seemed to absorb the sun's rays like mirrors and draw them down into the darkness.« Simon Wiesenthal
Kevin has worked with a number of musicians and composers, including Larry Austin, Steve Duke, Patrick Godon, Jacqueline Peatry and Paul Wertico.
Valérie Wolf Gang, Freedom 2.0, 2012, 3.27 min
Sodelujoči: voice – Connor McIntyre, dancer – Alex Hong
FREEDOM 2.0 represents the search for personal freedom in the world. First there was poetry discussing the ambiguity of the world and our artificial freedom. Then came the video based on the poetry. Through shots of nature and the city it displays layered contrasts surrounding us from the outside, yet hiding in us and in the system we live in. Our conviction of freedom can be deceiving. If we carefully observe the details around us, it becomes clear how limited we actually are: boundaries, controls, laws, warnings, signs etc. The only thing that remains is nature where we can escape, hide and find our freedom. The question is where is the end, the boundary at the end of nature that says:
„
Passage through this point is not permitted
“
or
„
Unauthorised access forbidden
“
. The issue of freedom is explored through poetry to seek solutions: We can only be personal in our heads, in art and in free movement of the body.
„
Are we free? Let's think again.
“
The considerably narrow and tight format of the video is all about restrictions as well. Natural atmospheric sounds of birds and an underground recording of an earthquake form part of the video, contrasting and complementing each other and achieving harmony between the world and the city. At the same time, however, warning signs are telling us that something is terribly wrong.
Leja Hočevar, Wintertime, 2014, 1.59 min
A contemplation of nature. Flowers suspended in ice, frozen growth. Silent experience, the slow rhythm of a sleeping landscape. The work is dedicated to silent details and it opposes the brisk pace of the town. It represents the frozen time.
Katja Hrvatin Jazbec, Andrej Hrvatin, Sky Sings to Me, 2012, 37.56 min
The video "Sky Sings to Me" exposes subtle changes and endless permutations of the forms of the sky. It consists of several clips of the sky thick with clouds. I collected them for a while and merged and layered them together later on to form a whole. Multi-instrumentalist Andrej Hrvatin then created music for the finished video based on my suggestions. All the pieces of music were performed on the ney, a Turkish flute, because its sound reminds me synaesthatically of the sky.
Urša Kastelic, Unten durch, 2013, 3.53 min
The video reveals a man’s subconsciousness through projections.
Markus Kleim, Beate Hecher, Terrain Vague, 2011, 13 min
TERRAIN VAGUE or times of losing landscapes are beautiful
»When I speak about time, it is because it isn´t yet given.
When I speak about a place, it is because it is gone.
When I speak about a human being, it is because he is already dead.
When I speak about time, it is because it is no more.«
(Jean Baudrillard)
Between glance and glance we are blind. The picture we have of our environment is, by shortly closing our eyes, already part of the past and no longer accessible.
Izabela Ołdak in Ruben van Klaveren, In the Shadow of the Full Moon, 2013, 3.37 min
This video shows the symbolical, inner journey to the underworld by the owl-witch, who performs a Full Moon ritual. In her journey, she meets animal guides like the frog and the black dog, who takes her to the Water Goddess the Life bringer.
Roberta Orlando, Asa Shimada, Real Boundary of Self, 2013, 6.31 min You see your portrait sometimes in your image of inner self, sometimes outer self with others. Self grows sometimes more than one body, sometimes far away, sometimes close, and never same. In the work, we show the connection between me as a observer and selfby movement. Real boundary of self is a performative action which reflect energy and force from nature to body and vice versa, searching for balance and armony in a protected environment.
Leyla Rodriguez, Cristian Straub, Isle of Lox »Origins«, 2009–2011, 4.37 min
Isle Of Lox »ORIGINS«
Origins is the film that started the Isle of Lox series. It already contains most of the components and themes which are characteristical for the whole series: water, loneliness and exploration, textile artifacts, sounds and music, despair, transcendence and joy. While threatened by the chaotic sludge, Leylox (a girl wearing a donkeymask) and Krilox (a boy wearing a bunny mask) are exploring the vast area of existence they were thrown into. They're checking on the artifacts trouvés, while the clock is ticking. It's a mix between an expedition and being on the run. In the end, they find the right artifact responsible for transcending into the pink situation. This action helps them to relax and finally accept the new environment as their new home. The chaotic sludge is still boiling, though.
Gruppo Sinestetico, Flux-Us Sound, 2007, 9.48 min
Albertin Matteo, Sassu Antonio, Scordo Gianluca Synaesthetic: as philosophical thought, art operates in a state of synesthesia, in touch with nature involving the five senses, as in Beuys’ philosophy, which is based on protecting the environment and the man who lives in it, solidarity and free cooperation and communication between people of different cultures, origins, religions, social, economic and political statuses.
On this philosophical and utopian thought, the Gruppo Sinestetico (Albertin, Sassu, Scordo) projects the Video: Flux-Us Sound
Simon Šerc, Discovering, 2010, 2.49 min
Videos for the DVD Fabriksampler V2 a continuous elaboration of an audio theme with textures gliding with subtle logic towards a specific goal and appearing intangible and infinite.
Ellen Wetmore, Leaving my Skin, 2014, 2.44 min
Leaving my skin poses the question what if I could walk out of all this: the stress the labor the responsibility the horror of inhabiting this gruesome self. Being uneasy in the skin and if so if one were going to walk away what would that be like? & is there any real freedom in melting into landscape; shedding cultural forms?
_
Video festival Natures 11
The international video festival Natures has been hosted by Bežigrad Gallery 2 for eleven years in a row. This year's festival is, at its core, similar to the first one. As the name already suggests, the videos are based on images of nature in both broader and narrower sense. What I have in mind are either concrete images from our surroundings or ideas originating within ourselves that the authors share with the public through videos.
Video as an artistic medium emerged for the first time in the 1960s, but it arrived on the gallery scene in the early 1970s. At its initial stages, video production was limited to individuals because the necessary equipment was not readily accessible. Nowadays the situation is quite different. Anyone can film a video, which is why this area has blossomed in terms of quantity, but not necessarily quality. The main selection criteria for the video festival Natures are the following: a good idea behind the video, an innovative concept, originality and, naturally, technical excellence. This year's festival selection is also based on those criteria. This time, the participating authors come from nine countries.
Their works suggest that the interest in experimental video is growing. The videos are exploring the boundaries of creativity, focusing on their visual rather than narrative aspect. Barbara Drev's video Chopped Infinity is proof of that. It displays moving and undulating water, but she is gradually changing it until it becomes unrecognisable. Kevin Evensen also explores distortion in his video Sunflowers. He processes and changes it completely. Real images from the environment, sunflowers in his case, are transformed into abstract images, while the video gives the impression of a canvas bringing colours to life.
Art video remains common among the submitted videos. In contrast to experimental videos pushing the limits of the medium, in this case more attention is devoted to narrating a scenario-based story. Leyla Rodrigues and Christian Straub jointly created the video Origins, the first in the series Isle of Lox, in which we observe "a boy and a girl" exploring the environment they found themselves in. Ellen Wetmore's video Leaving My Skin also belongs to the art video category. In her own special way she questions the possibility to escape from everyday life and the burdens taken on by the modern man.
Video features not only moving images, but also music or sound background. In this way, the author has another dimension to work with to achieve a certain effect. Both image and audio materials offer endless manipulation possibilities and open new avenues for exploration. Audio background has proven to be a strong tool in the video Unten durch by Urša Kastelic in which dark reflections of human subconsciousness are brilliantly emphasised with sound. Jana Beltran also worked around the same idea. The video You Don't Know was created on the basis of a song with the same title. Beltran aimed at evoking a mood to support both the atmosphere and content of the song by combining a visual image with a background sound. This is where the complexity of video as a medium stands out.
Over and over again, the advantages of video have demonstrated that it can convey ideas on several levels simultaneously. Many things have changed since the emergence of video, also owing to technological development that expanded the availability of technology. It also seems that video has a bright future ahead as enthusiasm is not fading. It is flourishing. For this reason, festivals like the video festival Natures are so incredibly important.
Dejan Jevšnik
Bežigrad Gallery 2
T: +386 1 4364 057 begin_of_the_skype_highlighting +386 1 4364 057 GRATIS end_of_the_skype_highlighting
F: +386 1 4366 958
E-mail: [email protected]
05.4.2014.
Contemporary Works/Vintage Works will exhibit at AIPAD NYCThese are our wall photographs for the AIPAD New York Photography Show, which we will be showing in our booth (Contemporary Works/Vintage Works, #213). The show will take place this coming Thursday, April 10 and run through Sunday, April 13. The show will be held at the Park Avenue Armory at 67th St. and Park Ave., New York City.
For more information about AIPAD Photography NY, just click here:
http://www.aipad.com/?page=PhotographyShow
If you just can't wait or you aren't able to go to AIPAD NY, please visit us at any of our websites and search our inventory of over 4,350 photographs, includinghttp://www.vintageworks.net, http://www.iphotocentral.com orhttp://www.contemporaryworks.net, or just contact us at 1-215-822-5662. We'll be happy to consult with you on any of your art photography collecting needs. We also offer our expertise in evaluating pieces at auction and bidding strategy at extremely competitive rates.
To unsubscribe from the E-Photo Newsletter visit:
http://www.iphotocentral.com/subscribe/unsubscribe.php.
For more information about AIPAD Photography NY, just click here:
http://www.aipad.com/?page=PhotographyShow
If you just can't wait or you aren't able to go to AIPAD NY, please visit us at any of our websites and search our inventory of over 4,350 photographs, includinghttp://www.vintageworks.net, http://www.iphotocentral.com orhttp://www.contemporaryworks.net, or just contact us at 1-215-822-5662. We'll be happy to consult with you on any of your art photography collecting needs. We also offer our expertise in evaluating pieces at auction and bidding strategy at extremely competitive rates.
To unsubscribe from the E-Photo Newsletter visit:
http://www.iphotocentral.com/subscribe/unsubscribe.php.
4.4.2014.
Photography, Film & Video
Diane Rosenstein Fine Art, Los Angeles
Galerie Stefan Röpke, Cologne
Luis De Jesus Los Angeles
MOTINTERNATIONAL, London
Eleanor Antin
Constructing Helen (from “Helen’s Odyssey”), 2007
Chromogenic print
60 x 103 3/4 inches
Edition of 5
© Eleanor Antin, courtesy of Ronald Feldman Fine Art
Diane Rosenstein Fine Art, Los Angeles
ELEANOR ANTIN PASSENGERS April 12 - May 31, 2014 Opening: Saturday April 12, 2014, 6:00 pm - 8:00 pm Diane Rosenstein Fine Art is pleased to announce Eleanor Antin: Passengers, a solo exhibition of drawings, photographs, and dé coupages by this iconic and influential pioneer of Conceptual art. Eleanor Antin: Passengers opens Saturday, April 12th, with a reception for the artist from 6:00 pm - 8:00 pm. This is Antin’s first exhibition with the gallery. Eleanor Antin, who is based in San Diego, uses fictional characters, autobiography, and theatrical narrative to examine the ways that history takes shape, and also to scrutinize the role that visual representation plays in that process. For this show, the artist reflects on recurring motifs in her work to design an installation that engages the existential themes that run through her historical narratives. The title of the exhibition -- “Passengers” -- provides a conceptual framework. Passengers where are you going? from here to there do you ever get there? I don’t know why not? i’m only a passenger -- just like you (from an Egyptian tomb) In her artist’s statement, Ms. Antin writes: “I think that the idea of ‘passing through’ has been a trope of mine throughout my career as an artist. From portraits of people made out of consumer goods - their decay built into them - through 100 Boots just passing through, or my deposed King passing the hat around to raise money to start a revolution against the developers or Eleanora Antinova, my black ballerina passing through modernist art history into oblivion, or Nurse Eleanor Nightingale passing through the Crimea bandaging the wounded and comforting the dying while Little Nurse Eleanor passes from bastard to bastard looking for true love, all the way back to the Roman past and its contemporary corollary, that train wreck, the American Empire, I’ve journeyed with my fellow passengers on our trip to nowhere.” Passengers presents an edited selection of drawings - in conversation with photographs -- that includes early “Roissy” collages (1967); costume drawings and stage sets from “Before The Revolution” (1975-78) and previously unseen pastels from “Dance of Death” (1974-75). Most of these works on paper have not been seen for decades; several are being presented for the first time. Even those familiar with Antin’s work will find that these extraordinary watercolors, pastels, and dé coupages reveal a new dimension of an artist widely considered to be one of this country’s foremost practitioners of Conceptual art. The installation also has a prevalent photographic component (a key aspect of Antin’s practice) that includes vintage prints from “Portrait of The King” (1972) and an editioned set of the fifty-one photographs that comprise “100 Boots” (1971-73/2005). The most recent work is a selection of color photographs from each of the “Historical Takes” series (2001-2007). These monumental works recreate scenes from ancient Greek and Roman empires through the screen of 19th-century neoclassical painting. One photograph, “Going Home,” (from Roman Allegories),” (2004), revisits the scene of “100 Boots Facing The Sea,” (1971), the very first image from that series: all of the players are standing at the shore, at the border between terra firma and what lies ahead. Eleanor Antin: Passengers will be on view through May 31, 2014. A catalogue, with an essay by Hunter Drohojowska-Philp, will accompany the exhibition. A major survey exhibition, Multiple Occupancy: Eleanor Antin’s Selves (curated by Emily Liebert for the Wallach Art Gallery, Columbia University), opens March 19th at the ICA/Boston through July 6, 2014. Eleanor Antin (USA, b.1935) received a BA in creative writing and art at City College of New York (CCNY) in 1958. She uses fictional characters, autobiography and narrative to invent histories. In her performance-based video works, Antin uses role-playing and artifice as conceptual devices, adopting archetypal personae in her theatrical dramatizations of identity and representation. Her work has been exhibited in solo shows at The Museum of Modern Art, New York; Whitney Museum of American Art, New York; the Museum of Contemporary Art, San Diego, CA; and the Ronald Feldman Gallery, New York, among others. Antin has also participated in many group exhibitions, at venues such as the Brooklyn Museum, New York; San Francisco Museum of Modern Art; Centre Pompidou, Paris; Documenta 12, Kassel, Germany; Zacheta National Gallery of Art, Warsaw, Poland; J. Paul Getty Museum, Los Angeles; Walker Art Center, Minneapolis, MN; Museum of Contemporary Art, Sydney, Australia, for the 2002 Sydney Biennale; Louisiana Museum of Modern Art, Denmark; The Hirshhorn Museum and Sculpture Garden, Washington, D.C., and the 37th Venice Biennale. In 1999, the Los Angeles County Museum of Art held a major retrospective of Antin’s work, which traveled to the Washington University Gallery of Art in St. Louis, Missouri and the UK. Antin has received an Honorary Doctorate from the School of the Art Institute of Chicago; a Lifetime Achievement Award from the Women's Caucus for Art of the College Art Association (2006); and a John Simon Guggenheim Memorial Foundation Fellowship (1997). Eleanor Antin lives and works in San Diego, where she is an emeritus professor at the University of California at San Diego (UCSD). Diane Rosenstein Fine Art 831 North Highland Avenue Los Angeles, CA 90038 T: +1.323.397.9225 Diane Rosenstein Fine Art 
Chris Engman
Double Skew, 2014
Digital pigment print
55 x 52.25 x 47 x 37.5 in
Courtesy of the artist and Luis De Jesus Los Angeles
Luis De Jesus Los Angeles
CHRIS ENGMAN Ink on Paper April 5 - May 10, 2014 Artist’s Reception: Saturday April 5, 2014, 6-8 PM Luis De Jesus Los Angeles is pleased to present Los Angeles-based artist CHRIS ENGMAN in his first solo exhibition, titled Ink on Paper, on view from April 5 through May 10, 2014. An artist’s reception will be held on Saturday, April 5th, from 6:00 to 8:00 p.m. Over the past few years, the gallery has included Chris Engman’s work in a number of exhibitions and art fairs, including: “The Road” (2013), “Dualities, Omissions, Loops, and Ruptures” (2012), UNTITLED Miami 2013, and Dallas Art Fair 2013 and 2014. This April, the gallery will present his work at Paris Photo Los Angeles (Stage 32 | Stand 9). Ink on Paper represents a temporary shift in Engman’s artistic practice from photographic documentation of environmental installation phenomena - records of process and the passage of time - to a consideration of photographs themselves as an inherently false, mediated and distancing way to experience the world. By focusing not on outer constructions but on the photograph itself as a constructed challenge to perception, this new body of work continues Engman’s inquiry into the illusive and unknowable nature of reality. In Ink on Paper, what a photograph preserves is limited: one view from one person, the third dimension of space, absent sounds, smells, and other contexts removed - all but perhaps 1/125th of a second gone. This may sound like an indictment but it isn’t; it is precisely these qualities of photography that are compelling to Engman - the paradox of seeming to have but not having. Many of Engman’s images seem improbable but are encoded with evidence of their veracity. They are, in most cases, truthful in the sense that what is pictured in a final print is what the camera saw on its final shoot; they are “straight.” They are deceitful, because all photographs are deceitful, but they are truthful in that they tell the truth about their deceit. One of the aims of Engman’s work is to reveal - and then revel in the deceit of images. “Skew” is a term used in digital image manipulation, however, the works titled Skew and Double Skewhave not been skewed with a software program; they are unadulterated “pure” images. They are skewed in the way that ordinary things appear skewed all around us all the time, mostly unnoticed. In these works, the frames and the shape of the images have been skewed to simulate perspective and mirror the naturally occurring distortion of ordinary sight. The viewer is irreconcilably displaced: in Skew, what is seen frontally seems to be the view from the right; in Double Skew, from the left and below. For Engman, these works depend upon a kind of logic that tries to add up to a sense of wholeness. They are visualized expressions of ways of ordering the world - internally consistent, but in the end they are, and feel, empty. It is the emptiness that Engman is attracted to. “Logic”, he says, “can be beautiful even when built upon nothing at all.” This is, perhaps, the central ethos of his project as an artist. Chris Engman lives and works in Los Angeles. He earned his MFA (2013) from the University of Southern California and his BFA (2003) from the University of Washington, Seattle, WA. In 2013, Engman participated in “Staking Claim: A California Invitational,” at the Museum of Photographic Arts, San Diego, and “NextNewCA” at the Institute of Contemporary Art, San Jose, CA. He has presented solo exhibitions at Roski Fine Arts Gallery, University of Southern California, Los Angeles; Flowers Gallery, London; Project B, Milan; and Greg Kucera Gallery and SOIL Gallery, Seattle, WA, among others. His work is included in the collections of the Orange County Museum of Art, Newport Beach, CA; Houston Fine Arts Museum, Houston, TX; Portland Art Museum, Portland, OR; Sir Elton John Collection, Atlanta, GA; Seattle Art Museum, The Henry Art Gallery, and the Microsoft Collection, Seattle, WA. His site-specific environmental installation “The Claim” can currently be seen at High Desert Test Sites, Joshua Tree, CA. Luis De Jesus Los Angeles 2635 S. La Cienega Blvd. Los Angeles, CA 90034 T: +1 310 838 6000 [email protected] Luis De Jesus Los Angeles |
Aitor Ortiz
"Umbral 005, 006, 007“ (Triptych), 2014
Aluminum Lochblech / perforated aluminium plate
each 154 x 104 cm / each 40,9 x 60,6 inches
Edition 4/7
Courtesy of the artist and Galerie Stefan Röpke, Cologne
GALERIE STEFAN RÖPKE, Cologne
AITOR ORTIZ Noumena April 11 - June 7, 2014 Opening Preview: April 11, 6:00p - 9:00p. The artist will be present. Galerie Stefan Roepke is pleased to announce Noumena, the fourth solo exhibition of photographic work from the Spanish artist, Aitor Ortiz, on view April 11 - June 7, 2014. Noumena is a fraught term used in Philosophy, from Plato to Kant, to designate non-phenomenal objects that emerge from deepest intimacy “in a pure state.” Whereas Phenomenology starts from cognition to produce impressions, introspection captures intuitions, which may, or may not, become cognition. Transcending documentary photography of architecture and foregrounding photographic representation’s propensity to dissolve and transmute the real, Aitor Ortiz works with space, architecture and the object as a starting point to deal with a series of visual and cognitive issues. In previous suites of work such as MODULAR, ESPACIO LATENTE or AMORFOSIS, the artist had already addressed similar concerns, in which the shift in experience between the two-dimensional and the three-dimensional produced a variation in sensorial perception and probed the boundaries of photography. Ortiz has an unrelenting drive to tackle head-on the dilemma between representation and interpretation (perception). In doing so, he forges connections between the content of his images, the physical qualities of the supports he chooses for his works, and the position they occupy in the exhibition space. In consonance, Aitor Ortiz stakes out a broad scope for his work and the relations between the places he photographs, and the conscious and unconscious devices operating in the process of manipulating the image: the eye (interpretation, frame, decontextualisation,...), the photographic camera(focus/out-of-focus, optical distortion, transmission of movement...) and the brain (the limitations of an imperfect device in reading information and its empirical powers: association of concepts...). These relations come together in the exhibition space, where the physical experience once again transcends the actual content of the photographs and becomes part of a process of continuous interaction between representation and the perception of the beholder. In the words of the intellectual Agustí Chalaux (1911-2006) “Observation of the outer world can only capture ‘phenomena’, that is to say ‘perceptible appearances’. Phenomena are things displaying themselves to the senses, and of all the senses sight is particularly germane. This appreciation is confirmed by the fact that many terms with Greek and Latin roots (evidence, intuition, idea, opinion...) bearing a connection with either the capturing or the rendering of phenomena are made up of words (videre, optikos) clearly connected with the sight, the sense capturing light, to apprehend that which is intelligible.” “That said, we must underscore that any observation about the outer world shall be severely limited if it does not take into account the manifold symbioses and internal interpretations that the evolution of total human intelligence has been, and continues, inventing. If we look, for example, at a walking stick plunged into water, the phenomenon we will appreciate is that the walking stick is bent. The accumulation of internal symbioses may lead us to discover the existence of an optical phenomenon that causes the walking stick to be apparently bent. ‘Appearances are often deceptive.’ In this domain, it is up to man to discover the exact reality of the phenomenon beyond appearances regarded as real, which only deform our vision of the world.” As Chalaux also mentions, " ‘noumena’ are impossible to conceptualise, to analyse or to reduce to any attempt at generalisation, measurement or/and indefinitely repeated experimentation to confirm or/and refute any theory. In other words, ‘noumena’ are not subject to scientific logic, while the totality of phenomena is susceptible to being treated in a logical and experimental manner." “Apart from their inability to take on expressive forms as a result of their rational ineffability, noumena are as singular and unrepeatable as the very person generating them. Therefore, two of the basic conditions of ‘science’ are missing: that what is studied is definable in its specific-empirical form, and that it can be repeated indefinitely using experimental statistics.” Aitor Ortiz (Bilbao 1971) is one of the most widely recognised Spanish photographers. He has had numerous solo and group exhibitions in major museums in Europe, America and Asia. His most recent solo-exhibitons include: Museo Guggenheim, Bilbao (2011); Fotografiska (Swedish Museum of Photography, Stockholm, 2012); and Sala Canal de Isabel II, Madrid (2012). In 2011, Hatje Cantz published an important monograph of his work, for which he has received critical acclaim and has won numerous awards, including the following: Ciudad de Palma Award; ABC Photography Prize; Honorary Prize at the Alexandria Biennale (Egypt); First Villa de Madrid Photography Prize. His works are in many important collections including MNCARS, Fundación La Caixa, ARTIUM, CAB, IVAM, AXXA, Museo Guggenheim Bilbao, MACUF, Foto Colectania, Fundación Telefónica, Museo Es Baluard, among many others. GALERIE STEFAN RöPKE St. Apern-Strasse 17-21 50667 Cologne Germany T: +49 022125 55 59 GALERIE STEFAN RöPKE 
MOTINTERNATIONAL, London
DENNIS OPPENHEIM 1st April - 17th May 2014 MOTINTERNATIONAL London are pleased to announce its second solo exhibition of Dennis Oppenheim. Having first worked with the artist in 2006, the gallery has represented Oppenheim since 2012. Marking the intersection between land and body art this exhibition brings together three rarely seen works from the 1970’s: Go-Between, 1972; Ground Gel, 1972 and Wishing the Mountains Madness, 1977. The performance Ground Gel, 1972 was recorded in 35 mm slides and still photography. Installed as a slide dissolve projection with sound and later transferred to video, the work was additionally produced as a photographic documentation. This exhibition will present both the video installation and photodocumentation form of the project. Ground Gel records the disappearance of the artist and his daughter Chandra, as he spins her at arm’s length. The birds-eye images of Ground Geldiagrammatically map motion. Crucially, the work enacts an exchange of catalytic energy in which Oppenheim exceeds the actual material boundaries of his own singular form. As they disappear into each other, Chandra becomes an extension of the artist as she is projected past him in time and space. Similarly produced as both a slide dissolve installation and video, Go-Between (1972) will be presented on two monitors. Here, exchanges of action are made further explicit. In what first appears to be a playful family scuffle, Dennis and Phyllis Oppenheim place themselves between two of their children, receiving blows which the siblings aim at each other. Oppenheim describes how "by acting as go-betweens for their aggression, we experience them directly, as if we were inside their bodies.” As passive recipients of the assailment, the adults become an intersection for their children’s blows. Oppenheim's land-based works make use of markings taken from systems of information rather than abstract gestures. Nearly a decade after “classical” Land Art, the artist returned to the land for projects in locations to which he had no permanent claim. The exhibition includes Wishing the Mountains Madness (1977) in which the artists again makes use of the aerial view. Here, an array of stars is scattered on land, and the sky is projected onto earth. The ground becomes a star field in a moment of temporal symmetry, captured within the form of the photographic documentation. The artist relates how the serenity of Montana brought him to think about what its inversion could be: "... the outside is madness in need of attention.... The piece addresses itself to the sky, it is expansive.... Madness is a lot about limits, we understand its definition as one involving boundaries- passing a boundary, you become mad.... when I use this subject, it's in formal terms." A key figure of American Conceptual Art, Dennis Oppenheim was born in 1938 in Electric City, Washington. From 1966 until his death in 2011, he lived and worked in New York City. During these four decades Dennis Oppenheim's practice employed all available methods: writing, action, performance, video, film, photography, and installation. The most recent exhibition of his work, ‘Dennis Oppenheim: Thought Collision Factories’, was held at the Henry Moore Institute in 2014, and his many solo exhibitions include the Museo Nacional Centro de Arte Reina Sofía, Madrid, Spain; Whitney Museum of American Art, New York; Corcoran Gallery of Art, Washington, D.C.; Musé e d'Art Moderne de la Ville de Paris; Stedelijk Museum, Amsterdam; Tate Gallery, London. He exhibited extensively in group shows at venues such as The Museum of Modern Art, New York; P.S1 Contemporary Art Center; National Museum of Modern Art, Tokyo, Japan; Metropolitan Museum of Art, New York; Museum of Contemporary Art, Los Angeles; Centre Pompidou, Paris; Walker Art Center, Minneapolis, MN; Museo Nacional de Bellas Artes, Buenos Aires, Argentina; Tate Modern, London; Kunstmuseum Bonn, Germany, and the Venice and Sao Paolo Biennales. Artists statements Courtesy Dennis Oppenheim Studio/Archive, New York With thanks to Amy Plumb Oppenheim. MOTINTERNATIONAL First Floor, 72 New Bond Street London W1S 1RR T: +44 (0)20 7491 7208 MOTINTERNATIONAL |
4.4.2014.
KOELNER LISTE April 10th to 13th 2014
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Azrin Mohd - Dreams @ ARTelier Gallery, Kuala Lumpur
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Dear Art Lovers,
In only a few days the new fair for contemporary art is happening. Discover emerging art from April 10th to 13th, 2014 at the first edition of KOELNER LISTE. The fair will take place at The New Yorker | DOCK.ONE in Cologne at Mülheim harbour. 36 exciting galleries and project spaces from 10 countries have been approved by curator Dr. Peter Funken. The exhibitors include Apteka Sztuki (Warsaw), ARTCO (Aachen), Artelier Gallery (Kuala Lumpur), Egbert Baqué Contemporary Art (Berlin), Everything is art! (Moscow), Emerson Gallery (Berlin), Galerie Klose (Essen), Galerie Kunstkomplex (Wuppertal), Galerie Lenka T. (Prague), galerie t (Düsseldorf), graefe art.concept (Berlin) and The Walrus Hub (Barcelona). Please find here the complete list of the exhibitors.
In only a few days the new fair for contemporary art is happening. Discover emerging art from April 10th to 13th, 2014 at the first edition of KOELNER LISTE. The fair will take place at The New Yorker | DOCK.ONE in Cologne at Mülheim harbour. 36 exciting galleries and project spaces from 10 countries have been approved by curator Dr. Peter Funken. The exhibitors include Apteka Sztuki (Warsaw), ARTCO (Aachen), Artelier Gallery (Kuala Lumpur), Egbert Baqué Contemporary Art (Berlin), Everything is art! (Moscow), Emerson Gallery (Berlin), Galerie Klose (Essen), Galerie Kunstkomplex (Wuppertal), Galerie Lenka T. (Prague), galerie t (Düsseldorf), graefe art.concept (Berlin) and The Walrus Hub (Barcelona). Please find here the complete list of the exhibitors.
Mariano Vargas - dama con serpiente @ Galerie Klose, Essen
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Gordon Clark - Who am I @ ARTCO Galerie, Aachen
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© smart ebike
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The discoverer's fair promises a true art experience in a spectacular architecture, with artists whose work is on sale at reasonable prices and who have the potential to be the stars of tomorrow. Be part of the happening, when the fair will be opened on Wednesday, April 9th, 2014 at 8 pm by Dr. Peter Funken and fair director Jörgen Golz. At 10 pm we invite you to join the opening party with DJane Esther Silex in the club of The New Yorker Hotel.
The fair will be held from April 10th to 13th, 1-9 pm (on Sunday 1-7 pm) at DOCK.ONE | The New Yorker, Hafenstrasse 1, 51063 Cologne. Tickets are 15 euros including fair catalogue (concessions 12 euros). Shuttle buses will run between the KOELNER LISTE and Art Cologne for ease of transport.
A special highlight will be the smart ebike design tours that start at KOELNER LISTE. Mobility brand smart allows you to experience the most exciting art and design hotspots in Cologne from the saddle of a true design object: the smart ebike. Check out the locations smart has chosen for its smart ebike design tour in Cologne here.
We are looking forward to seeing you and to a successful first edition of KOELNER LISTE!
© smart ebike
Warm regards
Jörgen Golz
Fair director
The fair will be held from April 10th to 13th, 1-9 pm (on Sunday 1-7 pm) at DOCK.ONE | The New Yorker, Hafenstrasse 1, 51063 Cologne. Tickets are 15 euros including fair catalogue (concessions 12 euros). Shuttle buses will run between the KOELNER LISTE and Art Cologne for ease of transport.
A special highlight will be the smart ebike design tours that start at KOELNER LISTE. Mobility brand smart allows you to experience the most exciting art and design hotspots in Cologne from the saddle of a true design object: the smart ebike. Check out the locations smart has chosen for its smart ebike design tour in Cologne here.
We are looking forward to seeing you and to a successful first edition of KOELNER LISTE!
© smart ebike
Warm regards
Jörgen Golz
Fair director
27.3.2014
Painting & Drawing
The Naughton Gallery, Belfast
Galerie Jette Rudolph, Berlin
Kingston Gallery, Boston
dalla Rosa Gallery, London
Simon McWilliams
"Red Model", 2014
oil on Linen
153 x 123cm
Courtesy of the artist
The Naughton Gallery, Belfast
SIMON McWILLIAMS Abstract Armature 11th April - 18th May 2014 Reception Thursday 10th April, 6-8pm The Naughton Gallery at Queens University presents a solo show of paintings by Belfast Artist Simon McWilliams. For more than 20 years Simon McWilliams has proven himself to have a unique painterly voice gathering accolades and awards in the USA, London and Ireland. Following the success of his solo show in Los Angeles, these paintings continue his use of architectural armatures and organic elements to reveal his fascinating and individualistic handling of paint. These are vibrant, densely built, spatially complex paintings. Underlying their quasi-abstraction is an armature of realism which effectively organises the sumptuous paint. Shana Nys Dambrot, writing in the Huffington Post, says "McWilliams is looking at ordinary cement, rebar, polyurethane, and debris, but he's using paint and saturated color to understand it; melding natural, industrial, and emotional phenomena into a singular expressive construct prompting our attention to not only what we see, but how we see it." Shana Nys Dambrot, Los Angeles 2013 About Simon McWilliams: Simon McWilliams (1970) Studied painting at the Royal Academy Schools in London, he has received almost 30 awards for his paintings in the last 20 years including the Guinness Award at the Royal Academy Summer Exhibition, London, a Major Award from the Arts Council of Northern Ireland. Perpetual Gold Medal and Silver Medals from the Royal Ulster Academy. This is his 8th Solo show and will be accompanied by a colour publication. About Naughton Gallery: The Naughton Gallery is named after its generous benefactors Martin and Carmel Naughton. Since 2001, The Gallery has become one of Belfast's most sought after and exciting visual arts platforms, featuring a rolling programme of works from the University's own collection, touring exhibitions and shows by local and international artists. The Naughton Gallery is a registered museum. The Naughton Gallery Queen's University Belfast BT7 1NN T: + 44 (0) (028) 9097 3580 The Naughton Gallery 
Mary Bucci McCoy
In Green, 2013
Acrylic on panel, 10.5 x 8.5 x 1 inches
Courtesy of the artist and Kingston Gallery
Kingston Gallery, Boston
MARY BUCCI McCOY New Paintings April 2-27, 2014 Reception: Friday, April 4, 2014, 5:30-8:00 p.m. Kingston Gallery is pleased to present Mary Bucci McCoy's third solo exhibit with the gallery in its Main and Center galleries, April 2-27, 2014. Bucci McCoy's intimate abstract acrylic paintings on rectilinear and vertical oval panels negotiate the reconciliation of intention with acceptance, action with stillness, object with image, and conceptual rigor with intuitive process through a poetic material language that investigates and exploits the opportunities and exigencies of her chosen medium. The work synthesizes oblique references to the body and the landscape on both macro and micro levels through form, color, and material. This exhibit reveals that Bucci McCoy's paintings are increasingly informed by her early experience with the materials, processes, and techniques of ceramic sculpture: from a process of building paintings over a period of time by deliberately situating painted marks on a monochromatic ground, she has gradually expanded her practice to include working in a very immediate, improvisational way, with the possibility of an entire painting occurring simultaneously in the still-liquid matrix of the ground. The paintings value the interior rather than exterior scale of the viewer's experience, and many of them resist reduction to a single image, requiring physical presence and time to be fully seen. Bucci McCoy cites a diverse range of influences for the work in this exhibit, including composer/artist John Cage, choreographer Deborah Hay, and sound artist Bill Fontana, as well as traditional Japanese ceramics, Samnite artifacts encountered during travels in the Italian provinces of Abruzzo and Molise, and the experience of hiking through the volcanic landscapes of the west coast of the United States. Mary Bucci McCoy lives and works on the North Shore of Massachusetts. Honors include a 2012 Massachusetts Cultural Council Painting Fellowship, nomination for the 2013 Brother Thomas Foundation Fellowship (Boston, MA), and selection for the White Columns Curated Artist Registry (New York, NY). In addition to Kingston Gallery she has also exhibited at venues including Rhode Island College (Providence, RI); the Artists Foundation (Boston, MA); Montserrat College of Art (Beverly, MA); Salem State University (MA); Tiger Strikes Asteroid (Philadelphia, PA); AG Gallery (Brooklyn, NY); Southern New Hampshire University (Manchester, NH); Art Complex Museum (Duxbury, MA); Merrimack College (Andover, MA); and Emmanuel College (Boston, MA). She holds degrees from Tufts University (Medford, MA) and School of the Museum of Fine Arts/Tufts University (Boston, MA). She has also studied ceramic sculpture at l'École des Arts Decoratifs (now Haute École d'Art et de Design Genève) (Geneva, Switzerland). Gallery hours: Wednesday through Sunday, 12-5 pm and by appointment Kingston Gallery 450 Harrison Ave., #43 Boston, MA 02118 T: +1 617-423-4113 Kingston Gallery 
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Lea Asja Pagenkemper
"Blacks and Whites" 2014
Courtesy of the artist and Galerie Jette Rudolph, Berlin
Galerie Jette Rudolph, Berlin
Remote Fate 13 March - 19 April, 2014 The Jette Rudolph Gallery is pleased to present REMOTE FATE, an exhibition of current works by artistLea Asja Pagenkemper. In her new series of paintings, the artist has elevated the role of word and text by transforming them into essential motifs in her visual representations. What is striking in this transformation is the way she organizes the text into creations that are comprised of visually legible structures. While the words are intentionally arranged in specific sequences that look like rhythmic poems or simple, formal line compositions, the contents of her texts or word sequences undermine the apparent harmony that seems to be imposed by an external order; instead, they confront the viewer aka reader with concepts originating in the domains of the sexual, the personal and the intimate as well as with doubts pertaining to the social and professional worlds. "Plainly the visual system is persistent, inventive, and sometimes rather perverse in building a world according to its own lights; the supplementation is deft, flexible, and often elaborate." (Nelson Goodman: Ways of Worldmaking, 1978) Pagenkemper's most recent works allow us to recognize the essential character of her visual creativity and to read it as a conscious and systematic processing and further elaboration of already existing groups of works. Her pictorial creations are almost exclusively dominated by her will to textual structure, which in turn reflects language in terms of artistic visual representation. The artist arranges text fragments that revolve around select key terms and transfers them to the medium of painting. She thereby combines and collapses them until they create a unifying surface - to the point that pictorial form and linguistic content can no longer be identified separately. In her new canvases, large-format panels and works on paper, the artist radically condenses the indefinite sense of place and time that are typically the hallmark of her works, instead privileging the austerity of written structures and the sensual-poetic expressivity of orderly word arrangements. These structures and arrangements are penciled onto pure, unprimed canvas, or they're drawn in white chalk on wooden panels painted with pitch black blackboard lacquer, or yet again they appear as charcoal transfers on rag paper. As in her previous paintings, the appearance and significance of her motifs are determined by her work strategies of applying layers upon layers, of blurring and smudging, of erasing and superimposing new writing, and by her handling of repetitive sets of phrases; it is these strategies that give to her motifs the pervasive appearance of a temporality that is visibly in-process. Accepting the artificial order imposed by the character of the tableau, Pagenkemper amplifies the range of possibilities available to mimetic panel painting within these confines by adding the potential for the panels' pure readability and visibility: Unlike Leon Battista Alberti's model of painting as opening 'a window to the world,' these text-works create descriptive, visual apparatuses that are like open rooms, spatial enclosures without a center but furnished with a variety of entrances and exits. Beyond the limits of specifiable location and chronology, these text fragments keep constantly producing new organizational structures, thereby creating for themselves an imaginary deep space that is the effect of their visual scaling and stylistic variation. For the 'Typo Drawings,' handmade text-prints on paper, Pagenkemper literally uses the written word as material. In other words, she uses the process of transferring the text to the picture's surface to create tangible, meaningful points of emphasis. When you first look at the various visual ornaments, the letters look like they have been subsumed by the design principle, but the text-pictures - with their strings of letters and word fragments - very intentionally express specific statements and assertions. "For a subject, it is about touching upon a truth amidst all uncertainty and in giving that which is touched upon form, language." (Marcus Steinweg: Behauptungsphilosophie, 2006) Pagenkemper doesn't shy away from provocation. It is as if the artist's means of expression is not the pictorial motif but the word. Because, as Michel Houellebecq reminds us: "Believe in structure. Believe in the ancient metrics, equally. Rhyme and rhythm are powerful tools for the liberation of the inner life" (Michel Houellebecq: To Stay Alive, 1999). Moreover, they can be sexist or pornographic and they can even be a direct accusation against the person looking at them. Absurd wordplays also pop up: "I feel most colored when I am thrown against a sharp white background." Pagenkemper uses provocation as a way to release and liberate feelings, which in turn "(...) override the causal chain; one's feelings are the only thing that allow one to perceive what's going on inside; communicating this perception is the object of writing." Lastly, according to French writer Houellebecq, it is love and passion alone that allow purified objects to appear in all their clarity; that make their crystalline truth visible (Michel Houellebecq: To Stay Alive, 1999). Galerie Jette Rudolph Strausberger Platz 4 10243 Berlin Germany T: +49 (0)-30- 613 03 887 Galerie Jette Rudolph 
Benjamin Bridges
Pythagoras (2013)
oil on canvas, 41 x 51 cm
Courtesy of the artist and dalla Rosa Gallery, London
dalla Rosa Gallery, London
BENJAMIN BRIDGES PYTHAGORAS ADRIFT 14 March - 12 April 2014 dalla Rosa is delighted to present Pythagoras Adrift, Benjamin Bridges first solo exhibition at the gallery. Working on canvas, board, and paper the artist has created a new body of work that focuses on compositional balance, pairings of colours, line and application of paint. Bridges' recent paintings - especially the ones on canvas - explore ways of creating texture, using paint in a much looser manner to reveal his layering technique in a less controlled way. Structures defined by neat lines are counterbalanced by washed-down backgrounds that emphasize the perception of liquid drift. I loved the Perspex surfaces I was working on for a long time. It was so smooth and flat and the edges were stunning, but the moment I wanted to push more movement and energy into the painting, it just couldn't handle it. I had discovered its qualities but also its limitations and had grown weary of it. I found it restrictive. I started looking back at the surfaces I had used before, namely canvas and MDF and at what artists had been using for thousands of years. I took the plunge and bought a big box of canvass frames and varying mdf panels. Working on them has really opened up the possibilities, allowing me to be far more aggressive with the paint and more versatile in the application. These surfaces give me a chance to push myself, and even alter my practice and aims mid way through a painting If I so choose. In essence that's what's represented in this show. It is about reaching, maybe even groping in the dark for some ideas. Where the surface is the place on which the idea is worked out rather that where it is illustrated. (Benjamin Bridges, 2014) Along with the canvas works, Bridges has explored the use of dark tones on board, a series that he defined as 'blanks'. These smaller paintings are studies on composition, framing the outer edges (round or squared) with vibrant colours and adding a few touches of paint that suggest depth and movement. Considering these works Bridges wrote: I think the framing gives them a context, and the darkness is a void, and any mark made in the space is a kind of pure gesture, floating in the darkness, alone and isolated. It has room to breath, and sit and rest in the minds eye. Two series of large graphite drawings also highlight similar themes, building line and composition within framed areas. Using the same size paper he took different approaches to geometry, expressing the push and pull between extreme order and chaos. In one case a controlled study on well-defined lines (how to construct a box), and in the other a progressive implosion of angular shapes (particles bouncing within a space). Benjamin Bridges is an artist, curator, and documentary producer based in London. He started showing while studying Fine Art Painting at Wimbledon (2007-10), and had two solo exhibitions at ARTTRA (Amsterdam) in 2010 and 2013. He took part in group shows at dalla Rosa (2012 and 2013), Transition Gallery (2013), and Matthews Yard (Croydon, 2013) among others. Bridges was short listed for the 2009 Prunella Clough Painting Prize, and took part in the Royal Academy Summer Show (2008 and 2012) and the 2013 Threadneedle Prize. In 2012 he set up Hollow Earth London, a fine arts platform showcasing emerging talent in London through artists interviews and documentaries. Opening hours: Wednesday to Friday 12 - 6, Saturday 12 - 5, and by appointment. dalla Rosa Gallery 121 Clerkenwell Road London EC1R 5BY dalla Rosa Gallery |
20.3.2014
Duke University's Master of Fine Arts in Experimental and Documentary Arts
Duke University's Master of Fine Arts in Experimental and Documentary Arts is proud to announce its spring thesis exhibition, MFA|EDA 2014.
Featuring work by the Class of 2014, the exhibition includes a range of media, from installation and performance to film and photography. The exhibition will kick off Friday, March 21, in the Power Plant building at the American Tobacco Campus in downtown Durham, with an opening reception in the Power Plant Gallery and film premieres in the Full Frame Theater. The program will continue Saturday, March 22, with additional premieres, with further openings and events taking place throughout March and April at venues across Durham, including The Carrack Modern Art, SPECTRE Arts, The Bar, Cassilhaus, and the Fredric Jameson Gallery. To view work from the exhibitions and to access a detailed schedule of events, visit mfaeda2014.org
MFA|EDA is honored to congratulate the Class of 2014:
Runa A / Kristin Bedford / Amanda Berg / Rachel Boillot / Brenda L. Burmeister / Malina Chavez /
E. E. / Sarah Garrahan / Caitlin M. Kelly / Jing Niu / John Rash / Jennifer Stratton / Shan Shan
A unique initiative, the MFA in Experimental and Documentary Arts (MFA|EDA) at Duke University couples experimental visual practice with the documentary arts in a rigorous two-year program. For more than three decades, Duke has demonstrated leadership in documentary arts, film and video, and visual studies. Drawing upon this commitment to the arts, as well as the university's existing strengths in historical, theoretical and technological scholarship, the MFA|EDA offers a distinct learning environment that sees interdisciplinary education as a benchmark for significant innovation. More information on the program, faculty, curriculum and application guidelines is available on the MFA|EDA website at mfaeda.duke.edu. Additional inquiries may be sent to [email protected].
MFA|EDA 2014 is made possible with support from the Center for Documentary Studies; the Department of Art, Art History and Visual Studies; the Program in the Arts of the Moving Image and the Office of the Vice Provost of the Arts at Duke University. Additional support is provided by The Bar, Durham; the Cassilhaus Collection; The Carrack Modern Art; the Kenan Institute for Ethics at Duke University; and SPECTRE Arts.
Featuring work by the Class of 2014, the exhibition includes a range of media, from installation and performance to film and photography. The exhibition will kick off Friday, March 21, in the Power Plant building at the American Tobacco Campus in downtown Durham, with an opening reception in the Power Plant Gallery and film premieres in the Full Frame Theater. The program will continue Saturday, March 22, with additional premieres, with further openings and events taking place throughout March and April at venues across Durham, including The Carrack Modern Art, SPECTRE Arts, The Bar, Cassilhaus, and the Fredric Jameson Gallery. To view work from the exhibitions and to access a detailed schedule of events, visit mfaeda2014.org
MFA|EDA is honored to congratulate the Class of 2014:
Runa A / Kristin Bedford / Amanda Berg / Rachel Boillot / Brenda L. Burmeister / Malina Chavez /
E. E. / Sarah Garrahan / Caitlin M. Kelly / Jing Niu / John Rash / Jennifer Stratton / Shan Shan
A unique initiative, the MFA in Experimental and Documentary Arts (MFA|EDA) at Duke University couples experimental visual practice with the documentary arts in a rigorous two-year program. For more than three decades, Duke has demonstrated leadership in documentary arts, film and video, and visual studies. Drawing upon this commitment to the arts, as well as the university's existing strengths in historical, theoretical and technological scholarship, the MFA|EDA offers a distinct learning environment that sees interdisciplinary education as a benchmark for significant innovation. More information on the program, faculty, curriculum and application guidelines is available on the MFA|EDA website at mfaeda.duke.edu. Additional inquiries may be sent to [email protected].
MFA|EDA 2014 is made possible with support from the Center for Documentary Studies; the Department of Art, Art History and Visual Studies; the Program in the Arts of the Moving Image and the Office of the Vice Provost of the Arts at Duke University. Additional support is provided by The Bar, Durham; the Cassilhaus Collection; The Carrack Modern Art; the Kenan Institute for Ethics at Duke University; and SPECTRE Arts.
19.3.2014
SHAPE OPEN EXHIBITION AND CLOSING PARTY
at Lewisham Arthouse, London, United Kingdom
Wednesday March 12th - 29th 2014
James Lake
Entitlement - series number 1
2013
Cardboard
910mm x 520mm x 180mm
© James Lake
Lewisham Art House
Dates: Wednesday March 12 - 29 2014 Opening hours: Wed- Sun 12-6pm Late Opening and Closing Party: Friday 28 March 2014 from 6 - 8:30PM Address: 140 Lewisham Way, SE14 6PD London, United Kingdom Web: http://www.lewishamarthouse.org.uk The Shape Open is an annual call-out which invites disabled and non-disabled artists to submit work in response to a disability focused theme. This year's theme, 'Disability Re-assessed', generated submissions from an exciting multidisciplinary range of artists and includes painting, textile, photography and video works. After a successful six month tour the exhibition has reached its final destination, opening at the Lewisham Arthouse from Wednesday 12 - 29 March 2014. Join us at the exhibition tour closing party on Friday 28 March 2014 from 6 - 8:30PM for the final opportunity to see this unique and thought provoking collection of works by 29 emerging contemporary artists. 
Aminder Virdee
...And The Odds & Sods
2013
Solid Maple Wood.
25mm x 25mm x 25mm
© Aminder Virdee
Featuring artists:
Eric Fong (Winner of the Shape Open best in show prize), Katherine Araniello (runner up for Best in Show prize), Katharine Armstrong, Lizz Brady, Sophie Brown, Charles Burns, Vivi-Mari Carpelan, Ellie Collins, Maria Constantinou, Alice Dass, Beth Davis-Hofbauer, Jon Adams, Tony Allan, Gabriel Andreu, Rachel Gadsden, Ruth Hamblett, Stephen Lee Hodgkins, Matthew Humphreys, Margherita Isola, Fabienne Jacquet, Kasia Kaldowski, Babis Karalis, Ann Kelson, Pragya Kumar, James Lake, Beth Lau, Dene Leigh, Ilsun Maeng, Aga Maria Masternak, Marion Michell, Graham Miller, Cecilia Montague, Annie Morgan, Andrew Omading, Thomas Owen, Jo Paul, Evaldas Pauza, Bekki Perriman, Simon Raven, Yvette Rawson, Sally Redway, Ivan Riches, Christopher Sacre, Tracy Simpson, Monica Takvam, Will Thompson, Aminder Virdee, Jenni-Juulia Wallinheimo-Heimonen, Andy Wild, Naomi Woddis and The Vacuum Cleaner. |
Maria Constantinou
Bandaged
2013
C-Type Print
107cm x 72cm
© Maria Constantinou
Special mention goes to the Shape Open Prize winners Eric Fong and Katherine Araniello, who were selected by our Open Patron Yinka Shonibare MBE, Marcel Baettig, CEO of Bow Arts and Tony Heaton, CEO of Shape.
Eric Fong
Reflection 01
2013
HD Digital File
3 mins 56 Sec
© Eric Fong
Yinka Shonibare MBE, launched the exhibition at the Nunnery Gallery (Bow Arts) and commented on the winning submission:
'Eric Fong's winning film is piece which plays with perception, and moves between abstraction and reality. What is so impactful here is that it plays with one's own judgment and feelings of how other people might look different to one's own self.' Shape, the UK's leading arts charity working to improve access into arts and culture for disabled people. 
Marion Michell
Soldier's child
2012-2013
Crocheted from wool/polyester yarn
450mm x 260mm
© Marion Michell
Shape Website: www.shapearts.org.uk
Exhibition Page: http://www.shapearts.org.uk/artandexhibitions/shape-open-2013.aspx Shape Twitter: @ShapeArts Shape Facebook: ShapeArts Enquires Contact: 020 7424 7330 [email protected] Lewisham Art House Wednesday March 12th - 29th 2014 Opening hours are: Wed- Sun 12-6pm 140 Lewisham Way SE14 6PD London, United Kingdom Web: http://www.lewishamarthouse.org.uk |
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15.3.2014.
Photography, Film & Video
M+B, Los Angeles
Josée Bienvenu Gallery, New York
Galveston Arts Center, Texas
Galeria Fucares Almagro
Hannah Whitaker
Walking (Green), 2014
archival pigment print
50-1/2 x 40 in, edition of 3
Courtesy of the artist and M+B, Los Angeles
HANNAH WHITAKER
Cold Wave March 15 - April 26, 2014 Opening Reception: Saturday, March 15, 2014 from 6 - 8 pm M+B is pleased to present Cold Wave, Hannah Whitaker's first solo exhibition in Los Angeles. The exhibition runs from March 15 to April 26, 2014, with an opening reception on Saturday, March 15 from 6 to 8 pm. This show expands on Whitaker's interest in the Austrian logician Kurt Gödel who introduced the notion of unknowability to mathematics, a field often characterized by certainty. His ideas problematized early 20th century philosophical claims to truth and knowledge, a dialectic inherent to the medium of photography. Whitaker's interest in Gödel led her to think of the film plane as a formal system - a set of limited variables and operations. The results establish repetitious motifs that occur both within a single image and across multiple photographs. Employing a 4x5 view camera, she photographs using the intervention of hand-cut paper screens, often layering as many as fifteen in a single image; at times shooting through the screens and at others using them to deform an image selectively after it is shot. These in-camera processes allow her to collapse various moments in time and space onto a single sheet of film. The resulting photographs are suspended between multiple dualities: the handmade and the technical, the geometric and the photographic, the flat and dimensional, or - in the lexicon of Rosalind Krauss - the antireal and the real. The notion of a formal system is reinforced by her use of the constitute parts of her process as subjects in their own photographs. In Cutouts (Green), Cutouts (Pink) and Cutouts (Orange), Whitaker photographed the paper detritus left behind after cutting her paper screens. She arranged these cutouts on colored paper backgrounds that reappear in different forms in other photographs, establishing material linkages across multiple works. While the photographs contain abstract elements, Whitaker's subjects can be thought of as resolutely depictive in their familiarity - wintery landscapes, women and still lifes of banal objects. These conventional subjects are thoroughly recognizable, despite gaps in their representation. In Torso, for example, a body remains a body despite its distortions. Many of the screens draw from 20th century abstract artists, such as Sophie Taeuber-Arp, David Bomberg and Anni Albers, in addition to applied artists such as quiltmakers Annie and Mary Lee Bendolph. Whitaker's patterns employ illusory logic that is undermined by the messiness of photographic depiction, the imperfections in the paper itself and - at times - the pattern's refusal to adhere completely to its own rules. Hannah Whitaker (b. 1980) received her BA from Yale University (2002) and MFA from ICP/Bard (2006). Recent exhibitions include solo shows at Galerie Christophe Gaillard (Paris), Thierry Goldberg (New York), Locust Projects (Miami) and Rencontres d'Arles in France, where she was nominated for the Discovery Prize, along with group shows at Cherry and Martin (Los Angeles) and Higher Pictures (New York). She recently co-edited Issue 45 of Blind Spot magazine and co-curated its accompanying show at Invisible Exports in New York. She is a contributing editor for Triple Canopy, an editorial group included in the 2014 Whitney Biennial. Whitaker lives and works in Brooklyn. M+B 612 North Almont Drive Los Angeles, CA 90069 T: 1 310 550 0050 M+B 
Hillerbrand+Magsamen
From the series, Mandala 2014
20 Digital Pigment Prints
42"x42", Edition 1/10 + 1 AP.
Courtesy of the Artists and DARKE Gallery
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Juan Manuel Echavarría
Silencio con mapas politicos, 2014
C-print mounted on dibond
19 x 27 inches, 19.75 x 27.75 inches framed, Edition of 3, 2 APs
Courtesy of the artist and Josée Bienvenu Gallery, New York
JUAN MANUEL ECHAVARRÍA
Silencios March 6 - April 12, 2014 Josée Bienvenu is pleased to present Silencios, Juan Manuel Echavarría's fourth solo exhibition in New York. Since 1995, Echavarría's disturbingly beautiful photographs and videos have addressed the consequences of the endless Colombian drug wars. The show consists of Silencios, a photographic essay composed of twelve images, as well as three large scale portraits from an ongoing series ofWitnesses. The gravedigger and the lost call, a new video, is presented in the project space. Silencios is the direct continuation of La "O", his previous project. Travelling over the past three years through the rural and extensive region of Montes de María, ravaged by the war between the guerilla movements, the paramilitaries, and the Colombian armed forces. Echavarría documented abandoned schools fallen to ruin and traces left by forced displacements - classrooms without children, desks or teachers, and roofless spaces invaded by tropical humidity where familiar mathematical signs, grammatical symbols, and faint alphabets, can still be seen. He focused his attention on the blackboard of former classrooms. In Silencios, a suite of twelve photographs taken between 2010 and 2013, Echavarría documents the mutation of the function of the classroom space. Over time, a former classroom is overtaken as a living space by displaced farmers. Makeshift beds, plastic chairs, assorted cans, and other daily objects constitute the very idea of displacement in a form of reverse archeology. Ruins slowly become inhabited again. With their emptiness and muteness, the photographs articulate a ceremonial metaphor, creating spaces of communion where letters, numbers, and the voices of children once silenced, can begin to be heard again as timid signs of life start to accumulate. During these long journeys, Echavarría has been confronted by unexpected encounters he names Testigos. A pig, a cat, and a termite nest become silent witnesses testifying for the children's absence. The gravedigger and the lost call is a 16 minutes video, concurrently presented in Colombia at the Biennal de Cartagena. "La patiencia es la sciencia de la paz" (Patience is the science of peace). A caretaker erases the world in order to settle into a parallel reality: working with scissors, he carefully focuses on every blade of grass. Closer to a sculptor than to a hairdresser, he retouches and removes every edge with calm and attention. He gets transported by his own action. Nothing can distract him, not even the surroundings of the cemetery, nor the violence of the ring tone of his own cell phone. Born in Medellin, Colombia in 1947, Juan Manuel Echavarría lives and works in New York and Bogotá. His work has been exhibited extensively through Latin America, Europe, and the United States. Recent exhibitions include: America Latina 1960-2013 at Fondation Cartier pour l'art contemporain, Paris, France (2013 - 2014), traveling to Museo Amparo, Puebla, Mexico (2014), Colombian Nocturnes at Musée du quai Branly, Paris, France (2013 - 2014), Aliento: Arte de Colombia, Kunstmuseum Bochum, Bochum, Germany (2014); Cantos Cuentos Colombianos, Casa Daros, Rio de Janeiro, Brazil (2013), MoMA Presents: Juan Manuel Echavarría's Requiem NN, Museum of Modern Art, New York, NY (2013), El barro tiene voz, Museo de Antioquia, Medellin, Colombia (2013 - 2015), La domus del ausente, Galeria Metropolitana, Mexico, D.F. (2013), 18th Biennale of Sydney, Australia (2012); La "O", Universidad de los Andes, Bogotá, Colombia (2012); Juan Manuel Echavarría. Videos, 1999-2004, Museo de Arte Carrillo Gil, Mexico, D.F., Mexico (2012); The Politics of Place: Latin American Photography, Past and Present, Phoenix Art Museum, AZ (2012); Bienal Do Mercosul, Porto Alegre, Brazil (2011); Fast forward 2: The Power of Motion, Media Art Sammlung Goetz, ZKM, Museum of Contemporary Art, Karlsruhe, Germany (2010). Josée Bienvenu Gallery 529 West 20th Street (between 10th & 11th Avenues) New York, NY 10011 T: 1 212 206 7990 Josée Bienvenu Gallery 
Hillerbrand+Magsamen
From the series, Covering 2014
Digital Pigment Prints
19"x19", Edition 1/10 + 1 AP.
Courtesy of the Artists and DARKE Gallery
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Hillerbrand+Magsamen
Home Improvement
9 March - 20 April, 2014
DARKE Gallery is proud to sponsor the exhibition Home Improvement, featuring new work ofHillerbrand+Magsamen at the Galveston Arts Center, a FOTOFEST 2014 Biennale participating space.
Hillerbrand+Magsamen is a collaborative husband-and-wife visual arts team made up of Stephan Hillerbrand and Mary Magsamen. Based in Houston, Texas, their multidisciplinary work draws upon the rich Fluxus practice of incorporating humor and everyday objects. They expand their personal family life into a contemporary art conversation about family dynamics, suburban life and consumer excess, which they call "suburban fluxus".
For the exhibition, Home Improvement, they present two new bodies of work, Mandala and Covering, focusing on the idea of memories. Reflecting on the loss of a family member, the artists contemplate how their own children will remember them. In the Covering photographs, the artists intentionally obscure their faces to raise the question, "Do you remember the face of someone you cared about who has passed away?"
In reaction to their previous work, Mandala brings a calming sense of order and peace out of the chaotic abundance of everyday household items and toys. "In an effort to unify our home and family, we have created a series of large photographs of Mandalas where we have organized the stuff from our home such as Barbies, Legos, books and all those crazy little plastic items into circular patterns." The Mandala works utilize bright, organized colors constructed and combined with toys and miscellaneous items found throughout their home and photographed in their home.
Hillerbrand+Magsamen have presented their videos in international film and media festivals including SCOPE Basel, WAND V Stuttgarter Filmwinter, Brooklyn Film Festival, Ann Arbor Film Festival, Boston Underground Film Festival, and LA Freewaves New Media Art Festival. Their photographs, videos and installations have been exhibited with Camara Oscura Galeria de Arte (Madrid, Spain), Real Art Ways (Hartford, CT), Center for Photography at Woodstock (Woodstock, NY), Blue Sky Center for Photographic Art (Portland, OR), Indianapolis Art Center (Indianapolis, IN), Darke Gallery (Houston, TX) and Houston Center for Photography (Houston, TX).
They live and work in Houston, Texas with their two children M.E. (Madeleine and Emmett).
Galveston Arts Center
2501 Market Street
Galveston, TX 77550
001-409-763-2403
Darke Gallery
1005 S Shepherd #605
Houston TX 77019
001-713-542-3802
Home Improvement
9 March - 20 April, 2014
DARKE Gallery is proud to sponsor the exhibition Home Improvement, featuring new work ofHillerbrand+Magsamen at the Galveston Arts Center, a FOTOFEST 2014 Biennale participating space.
Hillerbrand+Magsamen is a collaborative husband-and-wife visual arts team made up of Stephan Hillerbrand and Mary Magsamen. Based in Houston, Texas, their multidisciplinary work draws upon the rich Fluxus practice of incorporating humor and everyday objects. They expand their personal family life into a contemporary art conversation about family dynamics, suburban life and consumer excess, which they call "suburban fluxus".
For the exhibition, Home Improvement, they present two new bodies of work, Mandala and Covering, focusing on the idea of memories. Reflecting on the loss of a family member, the artists contemplate how their own children will remember them. In the Covering photographs, the artists intentionally obscure their faces to raise the question, "Do you remember the face of someone you cared about who has passed away?"
In reaction to their previous work, Mandala brings a calming sense of order and peace out of the chaotic abundance of everyday household items and toys. "In an effort to unify our home and family, we have created a series of large photographs of Mandalas where we have organized the stuff from our home such as Barbies, Legos, books and all those crazy little plastic items into circular patterns." The Mandala works utilize bright, organized colors constructed and combined with toys and miscellaneous items found throughout their home and photographed in their home.
Hillerbrand+Magsamen have presented their videos in international film and media festivals including SCOPE Basel, WAND V Stuttgarter Filmwinter, Brooklyn Film Festival, Ann Arbor Film Festival, Boston Underground Film Festival, and LA Freewaves New Media Art Festival. Their photographs, videos and installations have been exhibited with Camara Oscura Galeria de Arte (Madrid, Spain), Real Art Ways (Hartford, CT), Center for Photography at Woodstock (Woodstock, NY), Blue Sky Center for Photographic Art (Portland, OR), Indianapolis Art Center (Indianapolis, IN), Darke Gallery (Houston, TX) and Houston Center for Photography (Houston, TX).
They live and work in Houston, Texas with their two children M.E. (Madeleine and Emmett).
Galveston Arts Center
2501 Market Street
Galveston, TX 77550
001-409-763-2403
Darke Gallery
1005 S Shepherd #605
Houston TX 77019
001-713-542-3802
10.3.2014.
Mixed / Multi-Media
Royal College of Art Galleries, London
Gandy Gallery, Bratislava
Galerie Barbara Weiss, Berlin
mother's tankstation, Dublin
The Acts (ACT No 4), Nastivicious, Video installation, 2012
© Nastivicious
Royal College of Art Galleries, London
... all silent but for the buzzing ... 6 - 23 March 2014 John Cage, Henri Chopin, Patrick Coyle, Ian Giles, Marlene Haring, Alexandrina Hemsley & Jamila Johnson-Small, Patrick Hough, Jacob Kirkegaard, Liz Magic Laser, Lina Lapelyte, Hassan Meer, Nástio Mosquito, Laure Prouvost, Ryder Ripps, Alex Schweder, John Stezaker, Jon Wozencroft Graduating RCA Curating Contemporary Art students present an international group exhibition that explores the indistinct spaces which lie between chatter and silence. Taking its title from Samuel Beckett's Not I (1972), ... all silent but for the buzzing ... aims to transport the distant whispering of Beckett's play into the exhibition space. Viewers are invited to experience a variety of mediums, scales and spectra of sounds through artists' installations, sculptures, collages and performances. Distant whispering becomes overwhelming chatter as John Stezaker's charged video collage creates a sensory bombardment of repetitive images. Omani artist Hassan Meer's video installation immerses the viewer in a contemplative experience of both physical and psychological suppression. Patrick Hough investigates the construction and representation of historical objects and their narratives in the present, while the provocative videos of Angolan artist and musician Nástio Mosquito creates an audiovisual cacophony to question stereotypes of communication and cultural identity. Liz Magic Laser further emphasises the performative and political strategies of media rhetoric. Viewers can participate in Marlene Haring's Solo Show (Face Up) (2012), a bar for one guest at a time. The internal and personal experience of sound defines Jacob Kirkegaard's installation Labyrinthitis(2007), as well as an interactive audio guide, including Turner Prize winning artist Laure Prouvost's Pink Cloud (2012). The audio guide will also feature an integration of sound art and performance by Lina Lapelyte, whom Brian Eno recognises as 'working right at the edge of what popular music could become'. ... all silent but for the buzzing ... includes sound + gesture, a weekend of free events with workshops, talks and performances on 15 and 16 March. Includes a restaging of John Cage's seminal work 4’33”; contemporary dance by Alexandrina Hemsley & Jamila Johnson-Small and a live performance by African multimedia artist Nástio Mosquito. Royal College of Art Galleries Kensington Gore London SW7 2EU T: +44 (0)20 7590 4444 http://buzzing.rca.ac.uk 
Andreas Siekmann
In the Stomach of the Predators
Installation view
Galerie Barbara Weiss
Galerie Barbara Weiss, Berlin
ANDREAS SIEKMANN In the Stomach of the Predators March 1 - April 26, 2014 In 1842 the young Karl Marx observed the Rhineland Parliament's debate on toughening the law on the theft of wood. While forests were publicly accessible, they did belong to somebody, and most members of the Rhineland Parliament viewed it as a criminal offence for the poor to gather dry twigs and branches there. Marx reflected on how the capitalist mode of production had always drawn its foremost boundaries between those who made laws and those who had to follow them. The first of these boundaries were to be understood very literally: territories were demarcated, other countries and even whole continents were subjugated and parcelled out. Natural resources and the people who lived in these countries became the object of private business interests and trade. In a very real sense, this history of conquest ends with the devouring of these goods. People face off against one another like animals in the wild. In the end nature encounters itself in the stomach of the predators. The central installation of Andreas Siekmann's show is entitled In the Stomach of the Predators...Large-scale panels, which the viewer can move, survey the current state of these ever-progressing developments and elucidate the disruptions that both state endeavours and private businesses cause through their dealings with the common good that is nature. The Svalbard Global Seed Vault, the seed bank established by governments and agribusinesses in permanent ice on the Norwegian island of Spitsbergen, is just one of the nodal points in a global web whose pathways pump knowledge, genetic information and the fruits of centuries of experience from the Global South to the industrialised nations in an incessant blood-letting. Genetically modified seeds flow back in the other direction, binding local populations to the agriculture industry's products. In complex diagrams composed of many pictograms that he developed himself, Siekmann approaches this subject matter inventively, with biting humour and unwavering faith in the power of representation. 7. Februar 1637, a series of Siekmann's tulip pictures painted from nature, broadens the exhibition to bring a further aspect of the subject into play: like votive offerings, these botanical portraits form a gathering of silent witnesses, alluding to the role of art in these events. In his long-term drawing series, installations and architectural models, the Berlin-based artist Andreas Siekmann engages frequently with the privatisation of public property and the restructuring of labour relations under the conditions of globalisation. Using formally broad-ranging working methods that converge into highly personal imagery, Siekmann focuses on the question of representation: how can we grasp these processes and find images for circumstances that all too often succumb to abstraction? Andreas Siekmann attained international renown through his participation in documenta XI (2002) and XII (2007), as well as the Skulptur Projekte Münster (2007). In the Stomach of the Predators arose from a collaboration between Andreas Siekmann and Alice Creischer that was shown last year at Biennale Regard Benin in Cotonou, at Bergen Assembly in Bergen, and at the Istanbul Biennale in Istanbul. An Alice Creischer solo exhibition at KOW is running parallel to this exhibition of Andreas Siekmann's work. A catalogue titled Die Exklusive. Zur Politik des ausgeschlossenen Vierten will be published this March by Verlag der Buchhandlung Walther König, Cologne; with contributions by Clemems Krümmel, Andreas Siekmann and Sophie Goltz. Galerie Barbara Weiss Kohlfurter Strasse 41/43 10999 Berlin Germany T: +49 (0) 30 262 42 84 Galerie Barbara Weiss 
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Babi Badalov
Acrylic on fabric
134x150cm. 2013
Courtesy Gandy gallery
Gandy Gallery, Bratislava
Babi Badalov - Nikolay Oleynikov EASTERIA March 11 - May 9,2014 Opening reception: Tuesday March 10 th from 18.00 to 20.00 "Hysterical Materialism" From now on, we claim that hysteria should be considered not as an incidental misfortune of singular individuals in bourgeois society, but as an open possibility and a driving force for the class struggle. ...the first thing about hysterical symptom is that it has a certain historical background and refers back to a certain event in the past, a traumatic event, perhaps, deeply forgotten by the hysterical subject. Something deeply forgotten thus nevertheless makes us know about it through a hysterical symptom. Hysteria therefore can be regarded as a kind of memory, an embodied memory, a memory whose subject is a material body of the patient. Hysteria thus presupposes history, and hysterical materialism can take the historical materiality of the hysterical body as its starting point. As Walter Benjamin says, the angel of hysteria looks back at the past, which still needs to be redeemed, and a hysterical symptom as a memory of the forgotten each time reveals a certain crack in the present, where a traumatic event dwells. Only that hysterical will have the gift of fanning the spark of hope in the past who is firmly convinced that even the dead will not be safe from the enemy if he wins. - Oxana Timofeeva Oxana Timofeeva is a Senior Research Fellow at the Institute of Philosophy of Russian Academy of Science and currently a Humboldtian Fellow at Humboldt University in Berlin. She is a member of Russian collective "Chto Delat?" ("What is to be Done"?), and the author of books "Introduction to the Erotic Philosophy of Georges Bataille (2009, Moscow, in Russian) and "History of Animals: An Essay on Negativity, Immanence and Freedom" (2012, Maastricht). Gandy gallery is very pleased to present a joint exhibition by BABI BADALOV and NIKOLAY OLEYNIKOV. This is the second time that Babi has exhibited his work at the gallery in Bratislava. BABI BADALOV was born in Lerik (1958), a small town near the Iranian border in the Talysh region of Azerbaijan, to an Azeri father and a Talysh mother. After serving two years in the Soviet Army, he moved to Leningrad (St. Petersburg) in 1980, where he quickly became a leading underground artist and a member of the unofficial artists group TEII. Badalov participated in numerous art shows with the group in Russia and abroad. In the late 1980s, he met artists Vadim Ovchinnikov and Timur Novikov, members of the New Artists Group, and became involved in a variety of their projects and art campaigns. Badalov always found different ways of expressing his ideas through art objects, paintings, installations and live performances. He also tested himself on the movie set of avant-garde Russian film director Evgeniy Kondratiev. In addition to his visual explorations, Badalov experiments with words and writes obscure poetry, mixing the languages and mentalities of different cultures. Even though Russian is not his first language, he won the Pushkinskaya 10 poetry contest. In 1990, Badalov mysteriously disappeared from the St. Petersburg art scene and became a legendary figure, and an inspiration and a role model for younger generations of Russian artists. Today, Badalov continues to exhibit around the world and develop his new ideas. His latest concept was a series of ecological art objects called Dolls for Adults, where he isolated the plastic of nature inside his own clothes. He is also working on a number of visual projects dedicated to linguistic explorations, questioning how a person can become the victim of a language barrier, trying to untangle the confusion of the Cyrillic/Latin mix. His latest exhibitions are Manifesta 8 in Murcia/Cartagena, Spain, The Watchmen, the Liars, the Dreamers in Le Plateau, Center For Contemporary Art, Paris and Lonely at the Top in MuHKA, Museum of Contemporary Art, Antwerp, «RE-ALIGNED ART» Tromsø Kunstforening, Norway, 15th Jakarta Biennale, and in 2014 "Report on the Construction of a Spaceship Module", New Museum, New York,and a solo exhibition 2010 "My life Report In Paris" Tranzit Display gallery, Prague and 2013 "PORTO - ΠOPTO" A Certain Lack of Coherence, Porto NIKOLAY OLEYNIKOV (1976) is a Moscow based artist and activist, member of Chto Delat?, editor for Chto Delat? newspaper, member of editorial board of Moscow Art Magazine (2011), co-founder of the Learning Film Group, and May Congress of Creative Workers, member of the Arkady Kots band. Known for his didactic murals and graphic works within the tradition of the Soviet monumental school, comics, surrealist-like imaginary and punk culture. Represented worldwide by his solo projects as well as with number of collective activities, Oleynikov has had numerous international shows including Fargfabriken, Stockholm; Musée d'Art Moderne de la Ville de Paris - MAM/ARC, Paris; Serralves Museum, Porto; Cittadellarte - Fondazione Pistoletto, Biella; Museo dell Arte Contemporaneo Luiggi Pecci, Prato; Ammirato Culture House, Lecce; Lungomare, Bolzano; KOMPLOT, Bruxelles; X BALTIC TRIENNALE in Vilnius; KIBLA, Maribor; <rotor>, Graz; Welling School, London; State Tretyakov Gallery and Paperworks Gallery, Moscow. Oleynikov is an author of a book SEX of the OPPRESSED, Moscow, 2013-14. Oleynikov's part of this significant duo's display features a selection of graphics works which has been included in his recently published book Sex of the Oppressed (Moscow, 2013). This selection of works is eloquent; a collection can be defined as a self-portrait, a synthesis of ideas and interest, dreams and utopias. It is deeply personal. So Oleynikov's Romantic Collection evokes a more intimate dimension, witnessed by the format of the works. Each one is like a refrain; a part of a song that becomes an intimate narration. Using the very intimate medium of hand drawings and ink on paper, Oleynikov brings together personal reactions and intimacy in a very political way, reflecting the dramatic changes recently experienced by Russian society, and more precisely resonating with the so called "anti-gay law" and its possible consequences. A new series of known Oleynikov's textile works made especially for EASTERIA are the flags based on punk-surrealist-like story of the death of Marat. Marat though is represented as a dog-headed androginous beast involved equally in political, creative and sexual actions. 
Nikolay Oleynikov
I Magri, 2013
blue and red ink
100x70cm
Courtesy Gandy gallery
Brendan Earley
Before the Close of Day
Installation view
2014
BRENDAN EARLEY
Before the Close of Day 19 February - 12 April 2014 Between the wish and the thing the world lies waiting. [i] Walking along a dusty road in New Mexico, with the evening drawing in, I couldn't help thinking about Cormac McCarthy's book The Road. A long time resident of Santé Fe, McCarthy's story is about a father and son's journey through a bleak landscape, full of harrowing tales but measured by humanity and compassion. This post-apocalyptic world has been reduced to basic elements, "a raw core of passable entities," where the complexity of our contemporary lives is a redundant luxury. More sophisticated aspects of human civilization have been obliterated, and the names of colors, types of birds, and certain foods are slowly being forgotten by the remaining humans, following the things themselves into oblivion. There was a gray sky around me giving the landscape an uncertain quality, as if it was saying goodbye for longer then just a night. My walking companion was Lucy Lippard and our conversation circled around the landscape's portentous qualities. As I tried to convey my impressions of the desert based on my wanderings the day before, in a valley scarred by mining, she suggested that only by taking responsibility do we find our place in the world: that our sense of belonging - whether geographic or philosophic - comes inexorably from this. Some years before, she had wandered into the desert and found her own place there, in a small house in the middle of near-nowhere. I had invited Lucy Lippard to narrate an Arthur C. Clarke story, which explains why I was there and why we walked the desert together. Wilson, a geologist and the main protagonist of Clarke's The Sentinel, reflects on a twenty-year old memory as a leader of a lunar expedition to a massive plateau. The expedition explorers discover an artifact of staggering and unexplainable purity, technologically beyond our comprehension but apparently left behind by extra-terrestrials eons ago.[ii] They destroy it. My itinerant journeys take me not through the geography of unexplored territories but into the topography of a world that has some how become unknowable. Hinterlands are to be found in all cities and my particular hinter-scape stretches around my studio in Inchicore, in suburban Dublin. Full of the detritus of our contemporary world, the landscape like the things that inhabit it, is largely broken and waiting to become whole again. This body of work is intellectually formed as a collection of these shards - constructed in a provisional, improvisational way; plastic ties and jimmy clips holding things together. As with the structure of Clarke's story, or with the things dumped in my abandoned fields, these sculptures are filled with the silence of waiting. Content to have come to rest like the meteorite on the gallery floor, yet craving completion through meaning, to be part of something greater.[iii] As with much contemporary Science Fiction, this project is about building an alternative present by using other voices from a different imagined past. Reinforced by the change in gender of the narrator. With Lucy as narrator, an otherwise dull and generic story opens up and builds a certain imperative through the narration. Her spoken words engendering a wish for better things to come, driven by a lifetime of activism. This project is a companion piece to a work I made in 2009 with Brian O'Doherty (b.1928) - 9 Reports. Their presence, either through the timbre of their voices or the connections made to the writing, envelopes the text and gives the fantastical structures of the fiction a very real foundation. One which is not based on empty hope, but on the desire of a wish. Brendan Earley [i] Cormac McCarthy, All the Pretty Horses. [ii] The story was used later as the bases for Kubrick's epic 1968 film 2001 A Space Odyssey. [iii] It is arguably the effects of the 'dematerialization of the art object' as assessed by Lucy Lippard in her 1973 book Six Years: The Dematerialization of the Art Object from 1966 to 1972, that resonate even more strongly today. mother's tankstation 41-43 Watling Street Ushers Island Dublin 8 Ireland T: +353 (0)1 6717654 mother's tankstation |
10.3.2014.
INVITO
Inaugurazione mostra L'URLO DELL'IMMAGINE. La grafica dell'Espressionismo italiano
| invito.pdf |
27.2.2014
Painting & Drawing
The Front Room, Brooklyn NY
Domobaal, London
Andréhn-Schiptjenko, Stockholm
Alison Jacques Gallery, London
Castlefield Gallery, Manchester
Patricia Smith
"Compulsion Drift"
Ink, watercolor, pencil, charcoal pencil on paper
25" x 19"
Courtesy of the artist and The Front Room, Brooklyn, NY
The Front Room, Brooklyn NY
PATRICIA SMITH Mapper February 28-March 30, 2014 Reception: Friday, February 28th, 7-9 Front Room Gallery presents Mapper, an exhibition of new works on paper by Patricia Smith. Known for her idiosyncratic cartographic explorations of the psyche and mental states, Smith incorporates new outer and inner geographical regions in her latest works. The writings of the Situationists on psychogeographical mapping served as a jumping off point for her recent year-long odyssey to Paris and other European cities to create works incorporating some of the locations that inspired these concepts. In her wanderings (dérives) through unfamiliar places, the artist gathered impressions of physical space, the residue of history, related emotional states, synchronicities and other details to map a specific place, time and point of view. The finished works are delicate, highly detailed paintings on paper incorporating images and texts rendered in ink, pencil, watercolor, rubber stamping and collage. Smith's faintly biomorphic forms are somewhat reminiscent of medical illustration, antique cartography and mystical diagrams, yet are something else entirely. Smith's mappings are not exclusively anchored in external geography. In other works, such asSchizoanalysis, she organizes and analyzes texts, and maps their intersections with her own thoughts. The results are a highly individual infiltration of mapping into the fluid and mysterious regions of the mind. As critic Benjamin Sutton has stated, "Smith's mind maps underline how we make sense of our accelerated and dematerialized interactions in elaborate, self-reflexive spatial terms. Maps grow more important as our trajectories become increasingly unclear." Patricia Smith has exhibited widely in the US and internationally, including recent exhibitions at Broadcast Gallery in Dublin, Ireland, Housatonic Museum in Bridgeport, CT, Voorkamer in Lier, Belgium, Bob Rauschenberg Gallery in Fort Meyers, FL and other venues in Paris, New York, Los Angeles and Montreal. Her work has been reviewed in numerous publications, including The New York Times, Art in America, the LA Times and L Magazine. In 2013 she was awarded a six-month residency at Cité Internationale des Arts in Paris. This May she will be an artist in residence at Stichting Kaus Australis in Rotterdam. Smith lives and works in New York. The Front Room 147 Roebling St Williamsburg, Brooklyn New York, NY Fri-Sun 1-6 & by appointment T: +1 (718) 782-2556 The Front Room 
Brad Kahlhamer
Please Pay Me So I Can Pay Them, 2013
Spray Paint, ink pencil on bedsheet
100 x 84 in. (254 x 214 cm)
Courtesy of the artist and Andréhn-Schiptjenko, Stockholm
Andréhn-Schiptjenko, Stockholm
BRAD KAHLHAMER The Four Hairs February 20 - March 29, 2014 Andréhn-Schiptjenko proudly announces Brad Kahlhamer's third solo show at the gallery. The exhibition centres around a large wall installation entitled The Four Hairs, with elements spanning from paintings and water colours, collages, vintage photos and Xeroxes to objects and sculptures. It offers a profound insight to the many facets of Brad Kahlhamer's work and his own personal mythology. In his realm he mixes contemporary Native American culture, urban street culture, subjective experiences and mythical symbols and deals with topics such as identity politics and urban, global culture. Another major work in the show is Please Pay Me So I Can Pay Them. It is comprehensive and detailed, mixed media painting on a full-size bed sheet. Here, historical allusions to Native American crafts and symbols are mixed with contemporary materials such as spray paint and ballpoint pens. A large collage and a group of watercolours complement the central pieces with texts and images, referring to Kahlhamer's background both as an art director at Topps Company and as a musician. Brad Kahlhamer was born in Tucson, Arizona and lives in New York City. His work has been exhibited extensively internationally and he will be included in Musée du Quai Branly's exhibition The Art and Life of the Plains Indians opening in 2014 and traveling to the Nelson Atkins Museum of Art, Missouri and the Metropolitan Museum of Art, New York. His work has recently been shown at the Nelson Atkins Museum of Art, Missouri, 2013 and the Aldrich Contemporary Art Museum, Connecticut in 2012. Recent group exhibitions include One Must Know The Animals, Madison Museum of Contemporary Art, Wisconsin, 2012. He was the recipient of the Joan Mitchell Award, 2006 and the Louis Comfort Tiffany Foundation Award in painting, 2001. Kahlhamer is included in numerous public collections including the Museum of Modern Art, New York; the Whitney Museum of American Art, New York; the Seattle Art Museum, Washington; the Denver Art Museum, Colorado; the Weatherspoon Art Museum, North Carolina; the Milwaukee Art Museum, Wisconsin and the Hood Museum of Art, New Hampshire. Andréhn-Schiptjenko Hudiksvallsgatan 8 Stockholm Sweden T: +46 (0)8 612 00 75 Andréhn-Schiptjenko 
Iain Andrews
'Actaeon', 2013
Acrylic and gold leaf on linen
55 x 45cm
Courtesy of the artist and and Man&Eve, London
Castlefield Gallery, Manchester
IAIN ANDREWS Re-view 7 March - 13 April 2014 Preview: Thursday 6 March 6-8pm - All welcome Castlefield Gallery is delighted to present a solo exhibition by Iain Andrews. Andrews has gained significant recognition for his seductive and sensuous paintings, which combine art historical references with dedication to a visceral painterly language. He has exhibited internationally and has been shortlisted for prestigious prizes inc. the Jerwood Drawing Prize and the Marmite Painting Prize which he won in 2011. His work has attracted the critical attention of writers and curators resulting in a rich dialogue around his practice including a piece of creative writing by Joanne Reardon Lloyd. Andrews' work mixes the colour palette of contemporary abstract painting with the dirty browns, cracking paint and varnished sheen associated with the Old Master and nostalgic Victorian painting, from which he also appropriates various compositional and figurative elements. He also works in dialog with folk tales and the themes of historical paintings. Though his works demonstrate knowledge and skill he does not over-identify with academic sophistication or current trends in contemporary art, rather he reveals a confident belief in his work that has no need of such validation. This Re-view exhibition will give Andrews the opportunity to show a selection of the paintings and drawings he is known for alongside recent sculptural pieces such as Il Teatro dei Leviatano (2013) a miniature theatre constructed with intricately illustrated props and backdrops and ambitious new works. At Castlefield Gallery he will apply his draftsmanship skills to a new site-specific work for the gallery's double height space. This large-scale mural will form a dramatic backdrop, making overt the gallery's function as both a platform for viewing and a stage on which a drama is played out, positioning the viewer as a protagonist in art history's ongoing dialogue. His paintings reflect a 20th century shift in our attitude towards history; rather than depicting a moment in a linear chain of events they mark points in a skein of relations. Many of the historical paintings Andrews appropriates depict moments within a narrative, a frozen point in a drama, which provide the viewer with a space for stillness and quiet contemplation. Andrews' takes figurative references and mixes them with complete abstraction. Presenting a sense of narrative progression in the form of the paintings themselves, they depict the noise of history, churning and oozing under the weight of disparate story lines without beginning or end. This sense of eternal movement, of constant recontextualisation with the viewer firmly positioned as a part of it, provides an alternative space for contemplation. Andrews' works thrive in a time when an increasing awareness that the meaning of all things is always already changing shares the same space as candid belief in consistent truths. Castlefield Gallery 2 Hewitt Street Manchester M15 4GB T: +44 0161 832 8034 Castlefield Gallery |
Christopher Hanlon
Rubber Plant, 2014
oil on linen stretched over board
60x50.3cm, photograph by Andy Keate
Courtesy of the artist and Domobaal, London
CHRISTOPHER HANLON
CHAMBER 21 February - 29 March, 2014 #1 Chamber, a word that suggests enclosure, has an expansive field of meanings: cloud chambers, brooding chambers, chamber pots, chamber music, bullet chambers, dark chambers, chambres claires. Christopher Hanlon's chamber presents us with rubber plants, heads of hair, poly-satin and velvet pile. His motifs are interior, accumulated, and mute except for their quiet introverted chatter once our backs are turned. These paintings confront us with their posterior challenging us to find the right words to describe them. An empty podium dressed in fabric. A velveteen oxblood rondel that offers no point of entry. It hovers slightly above the floor, incorporating in its wefts (or woofs) and warps decades of dust and follicles. A rubber plant. Rubber plants yield a milky white latex, irritant to the eyes and fatal if taken internally. A rubber plant is tough love. The back of a shiny marble head with a strand of hair twirled into place by whom exactly? The anatomical word for the back of the head is occiput. The hair that curls into a shell-like cone at the occiput of Hanlon's painting's sculpted head has no follicles, no cuticles, no medulla. It has never grown. It has the smooth sheen of stone sculpted into seamlessness, but it exists in the semantic gap between being (or meaning) stone, hair, or pigment. Domo Baal presents Christopher Hanlon's third solo show in the gallery. There will be 8 new paintings (approximately). Domo Baal and Christopher Hanlon would like to thank Eva Wilson for this text, which she might well expand on as time goes by and the rubber plant makes new spring shoots - and the paintings make their way to the gallery. #2 'Oh, shoot!' thought the rubber plant as it sensed itself growing a new extension. It was a shot in the dark, this new leaf, still wrapped in its bright red protective sheath that would soon fall off like a shoe dropped nonchalantly to the floor after dangling on the tip of its owner's toes. The discarded skin would be released to drift down into the smooth terrene of laminate and screed once the leaf itself was mature. Inside the new leaf, another immature one was waiting to push into its own coating, at the meristemic cell of the Ficus. The immature leaf eminently appreciated the salacious roots of the rubber plant's Latin name as well as its modern variations - fare la fica, as in flipping the bird. #3 This morning the postman handed me a jiffy bag containing the 1952 edition of André Malraux's Musée imaginaire de la sculpture mondiale. The 703 images of stone figures in Malraux's compendium are arranged to illustrate a 'confrontation of metamorphoses' letting another medium, the enigmatic, fragmenting, composed, dramatic act of photography, do the talking. Image number 635 shows a black and white photograph of the helmet fastened to the back of the head of Benvenuto Cellini's bronze sculpture of Perseus (1533) from the Loggia dei Lanzi in Florence. The helmet (functioning as a Janus head facing backwards) has eyes, wings, a dramatic nose leading to a radial moustache that blends into Perseus' curly hair at the nape of his neck. Perseus, as seen from the front, holds high the severed head of Medusa, the Gorgon, and shares with her a melancholy (and finally harmless) downcast gaze. Only the eyes on the back of his head stare straight out under flinty eyebrows. The eyes: slightly anxious, tired, like an old man's whose one-time ferocity is slowly fading into the growing disquiet of age. Malraux's hazy photograph tampers with the sculpture's bronze sheen and renders it instead rough and textured like a concrete cast that has stood in the rain. Christopher Hanlon's imposing painting of the back of another sculpted head (which however denies what even the flipside of Malraux's portrait possesses: eyes) uses the oil paint's glistening reflections to the opposite effect. The surface of the head is reminiscent of the sensation of fever dreams, when flashing neurons make you run your fingers endlessly over hallucinated, impossibly smooth, infinite surfaces. The same fever dream also seems to have come up with the disconcertingly small horns that appear to be growing out of the sculpture's forehead and that make not knowing this head's gaze even more unsettling. Hanlon seems to have a similar approach to the idea of an imaginary museum of images as Malraux, plucking them from a subliminal maelstrom of revenant motifs and juxtaposing them as fleeting aperçus, déjà-vu. But Hanlon disrupts what in Malraux's endeavour functions as a unifying codex of images by essentially severing them from their origins (much like Perseus' Gorgon head), from their compatibility with a history of similar tropes, from their conjugation within a pictorial grammar. In all their painterly virtuosity they remind me of someone who is relearning a language after a stroke or a trauma and fumbles to recognize and pronounce each word - words that are sometimes hairy, sometimes bulky like pebble stones. Rubber plant. Penumbra. DOMOBAAL 3 John Street London WC1N 2ES T: +44 2072429604 DOMOBAAL 
Alison Jacques Gallery, London
Ryan Mosley Audubon's Last Aviary, 2014 Oil on Canvas 210 x 275 cm / 82 5/8 x 108 1/4 ins Courtesy of the artist and Alison Jacques Gallery, London RYAN MOSLEY 21 February - 15 March, 2014 'Ryan Mosley is one of the most inventive of the younger English painters at work today, and you can feel the ghostly presence of Picasso here ceaselessly at work... Mosley is a fantasist, a maker of wild, irrational, dancing imagery, who seems to have learnt lessons from every modern movement.' - Michael Glover, The Independent, 2013 In Ryan Mosley's third solo exhibition at Alison Jacques Gallery his narratives within narratives and worlds within worlds feel even more transgressive and irreverent than those we've previously been invited to explore. Rich with art-historical devices and painted asides, his vocabulary is now unmistakably Mosleyan, and his characters not only veer well beyond the boundaries of societal norms, but are willing us to get lost with them. In the large painting, Audubon's Last Aviary, a skull whose entire torso is constructed from its falling beard conspires with a humanoid spearhead and a vine-stem-face in a yellowing cave. They are surrounded by a flock of abandoned and undiscovered subspecies of bird - hunchbacked and monochrome as if their subterranean existence has made colour, flight and even birdsong distant redundancies. Elsewhere, two courtiers - also with only skulls for faces but resplendent in afros and harlequin-chequered garments - are held in some pre-Quattrocento heraldic pose, carrying boules as orbs and standing within a living coat of arms which is itself part giant skull, part disturbing Botticelli-twin-fantasy. Among the other larger works, a figure within a twilit rural paintscape communes with the faces emerging from the smoke of his pipe, then in turn from one another's. He seems quite content to be guided, lead and mislead by these smoky profiles, despite their having emanated from him. In The Educationalist a cacophony of colourful bananas have congregated to form the shape of a figure, whose only other features resemble the head of an owlet, suspended in what has become both their classroom and stage. In the side space, a gathering of ghostly latter-day troubadours seem to eschew conversation, lost in their own whimsies and faraway thoughts before another performance on their travels. The charlatans and reprobates in the exhibition's smaller paintings are just as fractured and compelling.Busy Head stares manically like the startled androgynous offspring of a Berserker and Roman Centurion, and the multi-faced moustachioed Duchess of Oils is both camp and macho - as much painterly muse as a formidable, buxom monster. Her transgendered grandeur is matched only by the twin courtiers' white wigs that diagonally bisect the canvas of Headswill, while Dead Leg provides a humourously chilling reminder of where all this revelry ultimately ends. Ryan Mosley (b. 1980) graduated from an MA the Royal College of Art and lives & works in London and Sheffield. Notable solo presentations include Susanne Vielmetter Projects, Los Angeles (Forthcoming, September 2014), Thoughts of Man, Tierney Gardarin, New York (2013), Reversed Limbo, Eigen + Art, Berlin (2012), Alison Jacques Gallery, London, (2011 & 2010), and Painting Seánce, Grand Arts, Kansas City, Missouri (2010); while selected group shows include Zero Hours, S1 Artspace, Sheffield (2013); Nightfall, Modem Museum, Hungary (2012); London Twelve: Contemporary British Art, City Gallery, Prague (2012); Summer Exhibition, Royal Academy of Arts, London (2012); Merging Bridges, Museum of Modern Art, Baku (2012); and Newspeak: British Art Now, at The State Hermitage Museum, St Petersburg (2009), The Saatchi Gallery, London, (2010), and Art Gallery of South Australia, Adelaide (2011). Mosley's paintings are included in the Arts Council Collection, UK, the Saatchi Collection, London and Falckenberg Collection, Hamburg. Alison Jacques Gallery 16 - 18 Berners Street London W1T 3LN T: +44 (0) 20 7631 4720 Alison Jacques Gallery 
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26.2.2014.
FOUNTAIN NEW YORK 2014
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dm contemporary NYC presents ELIZABETH DUFFY / APARTMENT 2B and CHERYL YUN COLLECTION / STOREFRONT
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Fountain NYC 2013, photo by Kendra Heisler
69th Regiment Armory, 68 Lexington Avenue, New York
Press & VIP Preview to benefit the Detroit Institute of Arts Friday, March 7, 12pm - 5pm Opening Reception Friday, March 7, 7pm - 12am with Nick Zinner of the Yeah Yeah Yeahs Saturday March 8, NYC DJ collective The Deep 7pm to 12am New York, February 19, 2014 - Fountain returns to the 69th Regiment Armory March 7 - 9, 2014, where it will feature over 80 galleries, artist collectives, individual artists, and performers. This year will focus on engaging visitors through interactive installations and performances, and an emphasis on introducing new collectors to an international survey of emerging contemporary art in the debut of a new series of panel discussions. The fair will open Friday, March 7 with a VIP Preview to benefit the Detroit Institute of Art, followed by the Opening Night Reception featuring a high flying performance curated by Grace Exhibition Space in collaboration with Analog/Analogue and DJ Set by Nick Zinner of the Yeah Yeah Yeahs. Performance art programming will continue Saturday evening, followed by a dance party with NYC DJ collective The Deep. The 80+ Exhibitors in 2014's New York edition include galleries from Austria, Canada, Croatia, France, Germany, Japan, South Korea, and across the United States. Among them are founding exhibitors Front Room Gallery and MCCAIG + WELLES, long-time collaborates Arch Enemy Arts, Gentleman's Game, Arcilesi | Homberg Fine Art and Berlin. Fountain welcomes several newcomers, including the Alumni of the New York Academy of Art, New Jersey's Riverside Gallery, artist Visakh Menon, and Christopher Stout, winner of Fountain's Support Our Studios Initiative during Bushwick Open Studios 2013. See initial list below. Programming innovations for the New York 2014 edition will include the debut of daily panel discussions taking place from 12:30pm - 2pm, with an emphasis on connecting with new and intermediate collectors and art lovers. Beginning during the VIP Preview with "The Challenges of Creating Art in Public Space", and continuing through the weekend with "Women in Street Art", and "The New Muralism", the panels are open to the public and will feature diverse panels of artists and professionals. Special exhibitions will include OF LANDSCAPE, an interactive media installation presented by Parker Projekts and curated by Andrea Wolf of Brooklyn's REVERSE Gallery. The installation will feature work from artists Allison Berkoy, CHiKA and Andrea Wolf, as well as a project by Floating Point Collective which allows visitors to collaboratively build a virtual world with their gestures and movements through its space. DUMBO's Mighty Tanaka returns to curate Fountain's annual street art installation, this year featuring floating canvases from Chris Stain, Alice Mizrachi, Skewville, Cake, Chris RWK, Joe Iurato, Rubin, EKG, gilf!, OMEN and LNY, among others. EXHIBITOR LIST 5 Star Collective, Toronto, Canada | Adriana Ospina, Bogotá, Colombia | Aether Gallery, New York, NY | Alumni of the New York Academy of Art, New York, NY | Arch Enemy Arts, Philadelphia, PA |Arcilesi | Homberg Fine Art, Brooklyn, NY | ARTIST COLLECTIVE, New York, NY | Asan Gallery, Seoul, South Korea | Atrium Austria, Bad Waltersdorf, Austria | Berlin, New York, NY | Big Deal Arts, New York, NY | Bob Clyatt, Rye, NY | Burkhard Eikelmann Gallery, Düsseldorf, Germany | C. K. Art Space, Seoul, South Korea | Calico, Brooklyn, NY | Camille Eskell, South Norwalk, CT |Cellar Door, New York, NY | Christopher Stout, Brooklyn, NY | Chuck von Schmidt, New York, NY |Ciaran Tully, New York, NY | E32, New York, NY | EMP GALLERY, Tokyo, Japan | Fatherless, Rockford, IL | Fine Art International, Seoul, South Korea | Front Room Gallery, Brooklyn, NY |Fumeroism, Brooklyn, NY | G-Spot, Brooklyn, NY | Gentleman's Game, New York, NY | Gitler & _____, New York, NY | Gloria Delson Contemporary Arts, Los Angeles, CA | Hot Dose!, Rockford, IL | H.O.V., Flushing, NY | Hullaballoo Collective, New York, NY | iArt-4, New York, NY | Icons, Brooklyn, NY | IK International, New York, NY | Inyoung Seoung & Collective, Harrington Park, NJ | James "DrZ" Zdaniewski, Brooklyn, NY | Jason Tudor, Brooklyn, NY | Jay Shells, New York, NY |Kendra Heisler, Brooklyn, NY | KiloWatt Gallery, New York, NY | Larry Wood, Wyalusing, PA |Leon Reid IV, Brooklyn, NY | Levan Mindiashvili, Brooklyn, NY | Lomangino Studio, Arlington, VA | Mayjune Gallery, Seoul, South Korea | MCCAIG + WELLES, Brooklyn, NY | Michael Hurt, New York, NY | Mighty Tanaka, Brooklyn, NY | Monica Buckle, Greenwich, CT | New York Art Wave Project, Brooklyn, NY | Parris Jaru, Brooklyn, NY | Paul Kim, Washington, D.C. | Paul Szabo, Metuchen, NJ | Peti Element Gallery, Makarska, Croatia | Phantom, New York, NY | Post Nature Art, New York, NY | Price & Brand, Sea Cliff, NY | Pritzker Studio & Gallery, Woodstock, NY |Riverside Gallery, Hackensack, NJ | Sarah Trouche, Paris, France | Sculptors Guild, Brooklyn, NY | Seven Arts Gallery, Ridgefield, CT | Song Eun Gallery, Seoul, South Korea | Station 16, Montreal, Canada | Urban Folk Art, Brooklyn, NY | Vicki Dasilva, Allentown, PA | Visakh Menon, Long Island City, NY | YeKang Gallery, Seoul, South Korea | Yonabe, Tokyo, Japan | Zero Gallery, Seoul, South Korea | Zoom Gallery, Seoul, South Korea SPONSORS Fountain is honored to donate proceeds from VIP ticket sales in support of the Detroit Institute of Arts. FLAVORPILL HOOKUP: RSVP here to score an exclusive promo code for discounted tickets, sent straight to your inbox! By RSVPing, you will also be entered to win 1 of 12 pairs of free VIP passes! The organizers of Fountain New York 2014 would also like to thank the following institutions and organizations for their sponsorship and support: Art Front, Downing Frames, Big Deal Arts, The L Magazine, Artslant, Artcards, Hamptons Art Hub, Art Dossier, Wagmag, Brooklyn Magazine VISITOR INFORMATION & CONTACT Fountain is centrally located at the 69th Regiment Armory, 68 Lexington Avenue between 26th and 25th Streets. Subway: take the 6 Train to 23rd or 28th Streets, or the N, R Trains to 23rd Street. Visitor inquiries please call 631-987-4544 or email [email protected] HOURS & SCHEDULE Friday, March 7 VIP Preview to Benefit the Detroit Institute of Arts, 12pm - 5pm Panel: "The Challenges of Creating Art in Public Space" 12:30pm - 2pm Public opening reception, 7pm - 12am Nick Zinner of the Yeah Yeah Yeahs: 9pm - midnight Saturday, March 8 Open to the public: 12pm - midnight Panel: "Women in Street Art" 12:30pm - 2pm The Deep: 9pm - midnight Sunday, March 9 Open to the public 12pm - 5pm Panel: "The New Muralism" 12:30pm - 2pm ABOUT FOUNTAIN Fountain Art Fair strives to provide true accessibility between artists, exhibitors, visitors and aspiring collectors. Featuring art from across the country and throughout world, presented by individual artists, commercial galleries, non profit organizations, and artist collectives, the Fountain model provides a professional and exciting point of entry to all aspects of the contemporary art. www.fountainartfair.com MEDIA CONTACT For additional information, images, or to request an interview, please contact: Andy Cushman | Octopus Outreach | E [email protected] | M 917-744-4042 
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Elizabeth Duffy
Security Envelope Drawing
2004-14
Pencil on Security Envelope Collage
15.75 x 9.25 inches
40 x 23.5 centimeters
ELIZABETH DUFFY / APARTMENT 2B - CHERYL YUN COLLECTION / STOREFRONT
Two simultaneous exhibitions by artists Elizabeth Duffy and Cheryl Yun are currently on view through 15 March, 2014. Both artists will be present at the gallery this Saturday, March 1st, 2014 from 2- 4 pm for an artist talk scheduled in conjunction with these exhibits. dm contemporary NYC 39 East 29th Street, 2nd Floor New York, NY 10016 TEL 212 576 2032 [email protected] www.dmcontemporary.com Apartment 2B is an installation in which Elizabeth Duffy transforms the main gallery space into a domestic environment that is realistic and almost credible, until one takes a closer look only to realize that the patterns throughout the space seem strangely familiar - they are the same patterns found lining security envelopes that bills get mailed in to keep sensitive information protected and private. Finding inspiration in a disposable material, that is quickly becoming a relic of the past thanks to email, Duffy collects, draws, scans, prints, and embroiders, to reproduce a variety of data protection patterns on a vast range of materials and objects. Using these meticulously crafted and highly patterned creations, in an amplified fashion to cover the walls, the furniture, and every object in this otherwise charming modernist apartment, Duffy manages to create a feeling of unease, and puzzlement. In an evasive and subtle manner, Duffy's apartment 2B - playfully titled as a reference to the fact that dm contemporary gallery actually occupies flat 2B on the second floor of a residential building - blurs the boundaries between real and unreal, private and public, and surrounds us with hints that raise questions 'enveloping' every aspect of contemporary life, including concepts of domestic comforts and stability at a time of exponential change, and concepts of security and privacy in a digital age - especially as details of electronic surveillance dominate today's news. 
Cheryl Yun
HALTER TEDDY WITH SUICIDE BELT
Kidnapping, Beheadings, and Defining What's News (The Secret Islamic Army: there is no god but Allah, Mohammed is the messenger of Allah.)
Sunday, August 1, 2004 / 2005
Archival inkjet on Gampi Tissue
Size 8
In the project room of the gallery, is another thought provoking installation, The Cheryl Yun Collection / Storefront, in which Cheryl Yun sets up a high-end boutique that displays one-of-a-kind, meticulously handcrafted lingerie, and handbags as well as her recent line of string bikinis. Luxurious, delicate and enticing, her faux fashion lines are shocking to anyone taking a more careful look, as the stunning patterns and colors that make these items so attractive and unique turn out to be abstracted images of war, and natural disasters. Photographs of tragedies and catastrophes appropriated by the artist from newspapers and on-line media sites, are scanned, mirrored, inverted and repeated to create, what Yun calls, a complex visual fabric. The underwear is influenced by images of suicide vests and international crises, the form of the handbags references the latest fashion trends while the imagery reflects headline news, and the recent string bikinis focus on guns, violence and more specifically the tragic events in Newtown, CT. Each garment or item comes with a label showing the source image and the newspaper caption, the first date indicates when it was published, the second date when the item was completed. Yun's Collection/ Storefront, juxtaposes conflicting extremes, and exposes excesses, forcing provocative connections and pressing for a closer re-examination of values.
Elizabeth Duffy
Security Envelope Bedroom Installation
2010-14
Mixed Media with Security Envelope Patterns
Dimensions variable
Elizabeth Duffy lives and works in Providence, RI, Acworth, NH and Brooklyn, NY. She received her MFA from CUNY Brooklyn College and studied art at the New York Studio School, Hunter College and Rutgers College. Her work has been widely exhibited at venues such as the Drawing Center, the Aldrich Museum of Contemporary Art, White Columns, and The Islip Museum. Residencies include: the Bogliasco Foundation/Liguria Center for the Arts and Humanities (Italy), the Lower Manhattan Cultural Council, Yaddo, the MacDowell Colony, the Vermont Studio Center, and Ragdale. She received awards from the New York Foundation for the Arts, the Pollock Krasner Foundation, and the Rhode Island State Council on the Arts, and in 2013, she was awarded a National Endowment for the Humanities grant. Duffy's work is in the collections in numerous public and private collections. Her work has been reviewed in The New York Times, Art News, Art on Paper, the Boston Globe, the Village Voice, and many other publications. She currently teaches Art at Roger Williams University in Rhode Island.
Cheryl Yun
TYPHOON HAIYAN MICRO LUGGAGE BAG
After Typhoon Haiyan... a view of devastation on a rural landscape from United States Navy Helicopters
November 18, 2013 / 2014
Newspaper, Rives BFK
10 x 18 x 6 inches
25.4 x 45.7 x 15.2 centimeters
Cheryl Yun received her MFA in Photography and Related Media from the School of Visual Arts, New York, NY, and her BFA in Fine Arts and BA in History from Cornell University, Ithaca, NY. Her work has been exhibited internationally, in venues as wide ranging as White Columns (NY), Roebling Hall (NY), the New Benaki Museum (Greece), and Galerie Stihl Waiblingen (Germany). She has been the recipient of grants from the Puffin Foundation and the Indiana Arts Commission. Residencies include, the Art Omi Residency Program (NY) and the Skowhegan School of Painting and Sculpture (Maine). Yun's work has been reviewed and featured in The New York Times and the Village Voice, as well as in various major art publications including Art in America and Flash Art. She lives in Connecticut, and is currently an instructor in the department of Photography at NYU's Tisch School of Art.
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13.2.2014.
Sculpture & Installation
Galerie Rüdiger Schöttle, Munich
Sprüth Magers, Berlin
Espacio Mínimo, Madrid
Timothy Taylor Gallery, London
Lorena Herrera Rashid
No One, 2013
glass ball, rose, water, acrylic colour, plastic
30 x 30 x 30 cm
Photo: E. Hupperich
Courtesy of the artist and Galerie Rüdiger Schöttle, Munich
LORENA HERRERA RASHID
New Solutions 7 Feb 2014 - 29 March 2014 The forthcoming exhibition will be Mexican-born Lorena Herrera Rashid's second one at the Rüdiger Schöttle Gallery. Entitled New Solutions, it has as its themes such aspects of modern human life as mass media, consumerism, artificiality, waste and imitation. The work No One consists of a rose in an upturned glass vase and two elaborated hands. The rose has been in the vase for a good twelve months and while it has retained its original shape it has lost its red colour, thus ideally symbolizing death and mortality. Combined with the hands, the glass vase is strongly reminiscent of a fortune teller's glass ball, and this association of ideas then brings to the fore the notion of temporality itself, for the past, the present and the future are here experienced within one and the same moment. The figures entitled New Solutions I - IV may be understood to represent either the smallest social unit, the family, or the individual within society. Nos. I to III are differently sized sculptures positioned as a group in front of a mirror. While the figures are constructed in different ways and from different materials, such as wood, sheets of plywood, aluminium and furniture parts, the addition of shop-window dummies' hands gives them a human aspect. The mirror not only duplicates the scene but also, when viewed from a certain angle, integrates the viewer into the group. The third work in the exhibition is entitled Savings. It consists of stacks of uniform, mass-produced products. Only at second glance do we realize that the objects manifest individual differences inasmuch as each can, each cardboard box and even each pallet has its own individual number. Here, too, mirrors have been used to make us think more about the multiplicatory and imitative aspects of consumer behaviour. With subdued irony, Lorena Herrera Rashid holds a mirror up to the viewer. The world in which we live is so dominated by mass media, artificiality, consumerism and wastage that we are sometimes no longer able to distinguish between the natural and the artificial world. We are made to sense this phenomenon not only in each individual work but also in the exhibition as a whole. The artist skilfully involves the viewer, placing him or her in a direct rapport with the sculptures and, in so doing, confronting them with critical, thought-provoking impulses that call for completely new solutions - but the end is open... 
Michail Pirgelis
Installation view, Michail Pirgelis, 'adopted',
Sprüth Magers Berlin, February 7 - March 5, 2014
MICHAIL PIRGELIS
adopted 7 February - 5 March, 2014 In 1935 Walter Benjamin coined the term aura, a description of an aesthetic experience that was difficult to convey in words, which he had encountered when observing specific objects: a kind of atmospheric condensing, which seemingly revealed the essence of the objects, a simultaneous feeling of great proximity and distance. The works in adopted, the new exhibition by Michail Pirgelis at Sprüth Magers in Berlin, tend to conjure up Benjamin's notion of the aura. The objects on display also refer to so much more than just themselves, appearing equally near and incredibly remote. They evoke a number of psychological and physical associations which the viewer can hardly avoid. Despite their almost minimalist austerity, they enable archaeological insights into a world which has never been seen in this way before. Michail Pirgelis finds the material for the majority of his works on airplane cemeteries in California and Arizona, where discarded passenger planes await their dismantling and the recycling of their valuable aluminium and titanium alloys. Pirgelis removes individual segments from the gigantic aeronautical bodies, for further modification in his studio. For adopted he has left some of them in their original state, such as the brake mechanism of the work Onera, almost three meters in size and reminiscent of a cross. On other airplane components such as the canvas-sized, rectangular fragments of an airplane's exterior skin, he has partially exposed the metal beneath the coat of lacquer. Likewise he has sanded and polished the calotte in When it is called moment - a component from the fuselage of an airplane, responsible for cabin pressurisation, normally invisible to passengers - until its curved aluminium surface resembles a convex mirror. Together with another calotte it looms in a concentric configuration into the exhibition space. Finally, for the work Beer or Wine, Pirgelis has mounted flexible airplane cabin flooring, which still retain all the traces of adhesive, screws, and the holes for seat legs, on an invisible base with a suspension mechanism. Whilst the works on display - as a result of their reworking and decontextualising - may have shed their original functions, they have now become sculptural objects with a distinctive presence. They are occasionally reminiscent of Gordon Matta-Clark's heroic gestures in deconstructing houses and factory buildings, sometimes of John Chamberlain's car body sculptures and Donald Judd's minimalist fetish for aluminium, of Rosemarie Trockel's psycho-socially charged objects, or the archaeological finesse of Cyprien Gaillard's installations. The works in adopted are both cultural relicts and objects that may be considered within the history of art. Pirgelis has succeeded in extending Conceptual Art's long history by means of a highly specific sensibility and the radical position he has adopted. A notable aspect of this position is its narrative strength. This contributes enormously to the objects' auratic charge. The works on show succeed in revealing the suppressed fears which are often unconsciously associated with flying, even though for many of us it has become part of our everyday experience. Pirgelis' reworking of found paraphernalia in earlier exhibitions already drew attention to the cultural compensation mechanisms of fashion, glamour, and high style, which for a long time were required to distract people from their fear of flying. In adopted, a silkscreen print of a Pan Am publicity photo showing the well-known Spanish-French clown and former international star Charlie Rivel, provides a good illustration of such a scenario. In the photo, staged as high comedy, Rivel seems to be thanking heaven that he has safely arrived on the ground already while descending the stairs of the plane. In addition, Pirgelis repeatedly returns, in his sculptural works, to the dream of flying, one that perhaps will soon be a thing of the past. The "recycled" materials in his works tangibly address the anxieties linked to air travel in an era of diminishing resources, oil crises, terror attacks, global recession, and climate change. In terms of cultural history flying has always been understood as the epitome of human hubris - an activity which was accompanied by the possible threat of divine retribution. The works in adopted are distinctive in their mixing of the archaic with high technology, of vulnerability with strength, transforming the notion of hubris into an almost physical experience. That objects of such a scale, such weight, and such fragility are able to overcome gravity, to convey humans safely through the earth's atmosphere, inevitably challenges the limits of the viewer's imagination. Perhaps Benjamin was thinking of precisely this feeling of precariousness, or even the magical, when he coined his term aura. Michail Pirgelis (*1976, Essen) lives and works in Cologne. In 2010 he received the Audi Art Award for "New Positions" at Art Cologne and was an artist in residence at Schloss Ringenberg. In 2008 he was the first recipient to be awarded the Adolf Loos Prize from the Van den Valentyn Foundation, Cologne. In 2007 he was awarded the Villa Romana Prize in Florence. In 2011 Pirgelis' work was shown in a solo exhibition at the Artothek in Cologne. He has participated in group exhibitions at Stadtmuseum Düsseldorf (2005), Kunstmuseum Bonn (2010), Thessaloniki Biennale (2011), Museum Morsbroich, Leverkusen (2012), and Istanbul Modern (2013), amongst others. Sprüth Magers Berlin Oranienburger Str. 18 D-10178 Berlin Sprüth Magers Berlin | London 
Jessica Jackson Hutchins
M, N, OH, 2013
61 1/2 x 61 1/2 x 34 3/4 in. / 156 x 156 x 88 cm
Sofa, ink and collage on plaster, one glazed ceramic, shirt
© Jessica Jackson Hutchins & Timothy Taylor Gallery
JESSICA JACKSON HUTCHINS
31 January - 8 March 2014 Timothy Taylor Gallery is delighted to announce the second solo exhibition in London by the US artistJessica Jackson Hutchins, following her 2013 solo shows at The Hepworth Wakefield, UK and Centre PasquArt in Biel, Switzerland, and her inclusion in Massimiliano Gioni's The Encyclopedic Palace at the 55th Venice Biennale. Hutchins' practice is a hybrid thing, one that restlessly evolves and engages with a multiplicity of formal vocabularies, from the absurd to the profound; the personal to the universal, in a permanent state of irony. The work is primarily made out of the 'stuff in the room', everyday household items: clothing, furniture, photographs, which bear the marks of time on their worn surfaces and are altered further by Hutchins' interventions. M, N, OH, 2013, takes a found sofa - a reoccurring object in Hutchins' lexicon - from which she builds a towering wall of plaster, extruding upwards from its cushions. This totemic mass, both obelisk and cliff, acts as a pedestal for a ceramic vessel, which in turn weighs down her husband's old shirt that hangs from the edge. The letters from the title appear on the work - 'M' is found on the ceramic and 'N' is formed by papier-mâché across the plaster. The presence of the male figure, in the form of the shirt, elicits the 'oh!'. This playfulness with materials, language and tone is central to Hutchins' work. In Pink on the Inside, 2013, an armchair acts as a plinth to an anthropomorphic vessel. The slumping form, part bodily stand-in, part performance prop, is ambiguous in its role and purpose as it hunches over the upholstered surface. It adopts a human-like quality like much of Hutchins' sculptural forms, yet refrains from being simplistically figurative; a sophisticated collision of references and associations is at play here. As with the found objects and their personal histories, the sculptural interventions also carry the history of their own production. Colin Lang notes in the publication to accompany the recent museums shows, 'Hutchins is an archeologist; one who excavates the present.' This exhibition also features wall-based works including Cool Wake and #1 Rainbow (both 2013). The paintings are composed of re-stretched canvas with various inks, paints and materials permeating the unprimed surface. Hutchins flirts with what is 'allowed'; the boundaries between each discipline bleed into one another; sculptures become plinths, canvasses support ceramic vessels or crumple awkwardly over industrial ladders; prints are juxtaposed with found objects. These forms are resolutely abstract yet they solicit 'reading'. Their fragility and imperfections allude to the physicality of the human body yet they remain stubbornly indefinable. Jessica Jackson Hutchins was born in Chicago in 1971 and gained her MFA from The School of the Art Institute of Chicago in 1999. She had her first solo exhibition in Europe at Timothy Taylor Gallery, London in October 2010, following her critically acclaimed inclusion in the 2010 Whitney Biennial. In 2011 she was included in the 11th Lyon Biennale and had solo exhibitions at the ICA Boston and the Atlanta Contemporary Art Center. In 2013 she had a solo exhibition at The Hepworth Wakefield, UK and Centre PasquArt in Biel, Switzerland, and participated in The Encyclopedic Palace exhibition at the 55th Venice Biennale. Forthcoming projects include a commission for The High Line, New York City (2014) and solo presentations at the Eli and Edythe Broad Museum at the Michigan State University (December 2013), Cleveland MOCA (January 2014) and the Aldrich Contemporary Art Museum in Connecticut (April 2014). Other projects in 2014 include a group exhibition Living in the material world at the Museum Haus Esters and Haus Lange, in Krefeld, Germany, and participation in the 5th edition of the prestigious international sculpture exhibition Lustwarande'14 - Rapture & Pain, Tilburg, The Netherlands, (June - September 2014.) 2013 saw the publication by The Hepworth Wakefield and Centre PasquArt, Biel of a fully illustrated catalogue Everything Erblaut, featuring texts by Kirsty Bell and Colin Lang, which gives a comprehensive overview of Hutchins' work in the past 2 years of intensive production, including works in this exhibition. Hutchins' work is in public and private collections including the Whitney Museum of Art, New York; Brooklyn Museum of Art, New York; the Eli and Edythe Broad Art Museum, East Lansing, MI; the Portland Art Museum, Portland, Oregon; The Hammer Museum, Los Angeles; Seattle Art Museum, WA; and the Museum of Modern Art, New York. Timothy Taylor Gallery 15 Carlos Place London W1K 2EX T: +44 (0)20 7409 3344 Timothy Taylor Gallery |
Heinz Frank
Installation view
Courtesy of the artist and Galerie Rüdiger Schöttle, Munich
Photo: Wilfried Petzi
HEINZ FRANK
7 Feb 2014 - 29 March 2014 The forthcoming exhibition is the very first presentation of the works of the Austrian artist Heinz Frankat the Rüdiger Schöttle Gallery. The title of the exhibition is also a statement made by the artist: "Eternally faithful is the emptiness of the hole. Everything spoken is an inner or innermost self-portrait". Such statements take the viewer straight to the essence of Heinz Frank's work. Everything begins with a thought, which is first felt and then given shape. He quite literally lends material to these thoughts and feelings, so to speak, in order to fix them. Heinz Frank gives shape to his ideas with the aid of found objects of wood or metal, parts of furniture and, most preferably, stones. These objects are combined to form mysterious and enigmatic assemblages that mostly evoke the image of a hole, an eye, a brain or other parts of the human body. Heinz Frank's art is about showing how everything is linked together and what ultimately remains. In exploring the materials he uses, Heinz Frank seeks such diametric opposites as hard/soft, cold/hot, inside/outside, beginning/end and shows what lies in between. Seen in conjunction with his aptly laconic statements, the objects and assemblages speak for themselves as expressions of what was once just a thought. Heinz Frank's objects and assemblages are much influenced by the Swiss sculptor Alberto Giacometti, who almost a hundred years ago trusted himself enough to reduce the human body to no more than what was absolutely necessary in order to make the essential visible. Heinz Frank (*1939 in Vienna) studied architecture and design at the Academy of Fine Arts in Vienna. He has been working as an artist since the 1970s. His works have been shown in countless exhibitions and belong to many Austrian collections, including the Museum of Modern Art - Ludwig Foundation, Vienna (Mumok), the Museum of Applied Art, Vienna (MAK), and the Rupertinum in Salzburg. Galerie Rüdiger Schöttle Amalienstraße 41 80799 Munich Germany T: +49 89 -333 686 Galerie Rüdiger Schöttle 
Joaquín Segura
Notas sobre México. 2014
Escultura/Papel y roca
15 x 20 x 16 / cm
JOAQUÍN SEGURA
Estado de excepción 1 February - 29 March, 2014 Espacio Mínimo gallery presents the first solo exhibition in Spain of Mexican artist JOAQUÍN SEGURA. Mexican curator Mariana David writes the following about the selection of works that conform the show: "And it doesn't matter which are the moral boundaries or the conventions that need to be broken, if it is necessary to shatter the order as to show a nebulous part of the human imagination, to do it is almost an obligation" Guillermo Fadanelli ("El arte de la insolencia". Día Siete no.48, 2009, Ciudad de México, p. 21. Reflections on the work of Joaquín Segura) The present global scenario has citizens worldwide concerned about the economic policies that keep on restricting civil rights everywhere while devastating life in the planet at the same time. Images of gunfights and bombings in the news are placed among endless advertising urging you to buy a car or bifidus yoghurt. While walking the street of cities severely affected by unemployment, like Madrid, one questions oneself: Where are people getting money from to keep on consuming? This happens in Spain, Mexico and Jakarta, crisis it is not exclusive of any particular country. Each nation's problems are intrinsically tied to the interests of hegemonic power that knows no frontiers. This is why Joaquín Segura considers nostalgic to talk about national identity, and refers to the concept of post-nation as a branding process that aims to create a false idea of integration. Interested in the nature of power and, specifically, in the rise and fall of political and ideological apparatus, his work delves into the fissures and contradictions that have precisely made these structures collapse. However, far from pretending to vindicate or exalt subversion, the work of Segura confronts the viewer with its own ghosts. His artistic output makes us face a paradox: everything can be negated, destroyed or erased. From Czech dissidence during the Soviet Bloc era to the existence of the Frente Popular Farabundo Martí in El Salvador, what appears to remain about these conflicts are mere documents that the artist reproduces transforming them in works of art. Thus, its political content becomes diluted transfigured into added-value objects. Act of provocation? It strongly depends on where the viewer positions itself. Segura recurs to micro-narratives to evidence what he terms "the triumph of failure", which directly refers on one hand to the rise and fall of any ideological construct that denies reality, and on the other, to every revolutionary act in an ample sociopolitical arena. In the work "Estudio material sobre revuelta #1" (2014), objects used as projectiles in Mexico City's recent public demonstrations, later collected, are photographed in the manner of an ethnographic catalogue. The result alludes to the historical fetish qualities that these artifacts suddenly acquire, but also appeals to the inescapable unavoidability of hegemonic power that questions the effectiveness of street protest. The strategy of translation and its subsequent loss of meaning is another resource used by the artist, which becomes clear in works such as "Los anarquistas y las bombas" (2013), where a woman interprets -in sign language- a text published in 1907 in the anarchist gazette "Tierra y Libertad". The format generates disaffection between the portrayed content and the hearing public, while the anarcho-syndicalist slogans are reduced to mere gestures in a monitor. Even while Segura affirms that his practice strives to "create distance and see things from outside", an involvement is always present in his desire to collect random symbols and moments from political history, whether it may only be generated by the simple fact of rescuing events lost in major History. This exhibition brings together a selection of works, some of which were created since 2011 while others were specifically developed for this show, offering a mental panorama of uneasiness that, in the best case, will allow us to envision routes of escape from the permanent state of exception in which we all live. JOAQUIN SEGURA (Mexico City, 1980) Visual artist. Lives and works in Mexico City, Mexico. His action, installation, intervention and photographic work has been shown in solo and group exhibitions in Mexico, USA, Europe and Asia. Some spaces that have featured his work include Sala de Arte Público Siqueiros, Museo de Arte Carrillo Gil, La Panaderia and Museo Tamayo Arte Contemporáneo in Mexico City, along with El Museo del Barrio, Anthology Film Archives, White Box and apexart (New York, NY), LA><ART, MoLAA (Los Angeles, CA) Museo Nacional Centro de Arte Reina Sofia (Madrid, Spain), National Center for Contemporary Art (Moscow, Russia) and the Modern Art Museum of Fort Worth, TX. His work has been widely reviewed & featured in local and international art publications & major newspapers such as Flash Art, Adbusters, Art Papers, Código, Art Nexus, Discipline, Celeste & The Washington Post, among many others. In 2008/09, Segura was an artist-in-residence at the International Studio & Curatorial Program, New York, NY and at the 18th Street Arts Center, Santa Monica, CA. In 2012/13, he undertook artistic residencies and research stays at Hangar -Centre de Producció i Recerca d'Arts Visuals (Barcelona, Spain), MeetFactory - International Center of Contemporary Art (Prague, Czech Republic) and Impakt Foundation (Utrecht, Netherlands). He's a founding member and board advisor of SOMA, Mexico City. ESPACIO MíNIMO Doctor Fourquet, 17 28012 Madrid Spain T: +34 91 467 61 56 ESPACIO MíNIMO 
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7.2.2014.
Painting & Drawing
galerie laurent mueller, Paris
LeandaKateLouise, London
Corbett vs. Dempsey, Chicago
Galerie Kamm, Berlin
DCKT Contemporary, New York
© Benoît Blanchard
Courtesy of galerie laurent mueller, Paris
ÉLÉMENTS ORDONNÉS
Martin Meyenburg, Benoît Blanchard February 6th to March 22nd 2014 Opening on Thursday, February 6th from 5PM to 9PM The galerie laurent mueller is pleased to announce a dialogue between the German artist Martin Meyenburg and the invited French artist Benoît Blanchard. For this dialogue, both artists have approached the representation of surface and the aesthetic transformation of abstraction from real images; those who configure the artist's way of looking. In this context, Martin Meyenburg presents his Photogrammes, a new series of works that explore the notions of light and space in a photographic context. Whilst working with the same principles as in his previous pieces - sculptural space explorations that make his work a place of reflection of the artist about an abstract image - he has created a photogram machine. The constructions inside of this machine are projected onto a two dimensional plan, where they are transferred onto photographic paper as unique colour photograms. Benoît Blanchard has created Relevés, a series of drawings which convey realism, as they are sketched from a model and drawn in full scale, as well as abstraction: once the artist gets some distance from his model, he fills the drawn silhouette with his own vocabulary of numerous fine lines which recover the drawing with a geometric veil. The subject of this project--to immortalise the beams of an abandoned farm in Britanny-- confers to his work a melancholic touch. Paradoxically, wondering about the abandonment of this surface, Benoît has given a new life to this place left to its own remains. With their personal artistic vision, both artists offer us an exhibition about reality and imagination with memories as driving power, and invite us to think about surface as the starting point for abstraction. C.G.C Martin Meyenburg born 1978 in Berlin, Germany. Holds a Master from the Universität der Künste Berlin and received the Walter Hellenthal price for painting in 2007. He has shown in Berlin, Hamburg and Paris. Among his solo exhibitions should be noted: No Place Like Home at the galerie laurent mueller, Paris in 2012 and Shifting Around with Manuela Barczewski at Minken&Palme, Berlin in 2010. He has also participated in numerous group exhibitions to date. Benoît Blanchard born in1982 in Lyon, France. Doctor in Aesthetics from the Université Paris 8, he received in 2005 the laureate of the price for young creators from Aulnay-Sous-Bois. Among his solo exhibitions should be noted: Corrections with Cécile de Beauvoir at Laptop, Galerie Daniez & de Charette, Paris in 2013, Politique visuelle invited by REX in Belgrade in 2013, and 502,25m2 at the Galerie de Paris 8 in Saint Dennis. Furthermore, he has participated in numerous group exhibitions such as Minimalismes, a collaboration between BG Now and the Galerie Thierry Marlat, Paris in 2013. He has an online publication: Œuvres (http://oeuvres-revue.net) A catalogue edited by the gallery will be published during the exhibition. galerie laurent mueller 75 rue des Archives 75003 Paris France T: +33 1 42 74 04 25 galerie laurent mueller 
Pavel Pepperstein
Studies of American Suprematism, 2013
acrylic / canvas, 80 x 100 cm
Courtesy Galerie Kamm, Berlin
PAVEL PEPPERSTEIN
STUDIES OF AMERICAN SUPREMATISM 14. December 2013 - 22 February 2014 Suprematism, founded by Malevich and his circle, had a huge impact on the art world. However, this movement did not develop rapidly during the twentieth century. Dominated by the triumph of Stalin's socialist realism at the end of the 20s, suprematism itself turned into a Suprima: an insular and at the same time magnificent sign, intended for meditation. Suprematist geometrical figures now look like pieces of a frustrated future. However, an aura of Suprematism still remains a winner - and this is its paradoxical oddity. Suprematists wanted to "mark with Suprima" all things in the world and thus to ensure the notional flight of these things to the bright abstract future. In this sense, the American flag became the ideal Suprima of the XX century. Jasper Johns has proved that as well as the Black Square, the flag too is an insular and a magnificent sign, intended for meditation. Many artists in the West (especially American abstract artists and pop artists) were seriously trying to answer the question "what is a western meditation?". Today I want to ask myself and the audience: what is meditation in general? Because this question isn't asked in India, Japan or China, it means we are talking about western meditation. If suddenly it becomes apparent that modernity is incompatible with meditative practices, and that the word "meditation" is today totally inappropriate, then maybe the artist should just end it all, as did Mark Rothko? Of course, he should! However, one should refrain from suicide, at least because in 2013 everyone who may wish to commit suicide may inadvertently commit murder, simply because the boundaries between self and other people is far too blurred. In the eternal American War, between North and South, the North always wins. It is sad that the North always represents Progress. It would be nice if the North permanently remained strictly conservative and never interfered in the affairs of progress! Life on earth would become brighter, ladies and gentlemen! Northerners pollute the future with their painful memories, clogging up the collective intelligence with the pain of their climate-phobia - a phobia of the cold. Because of this the world is now overheated and suffocating. They say that God loves the abstract. I readily believe that! Moreover, this assertion inspires in me a religious optimism. After all, if God loves abstraction, then God is not in himself an abstraction, because abstract shapes are essentially indifferent to each other. ©Pavel Pepperstein, 2013 GALERIE KAMM Rosa-Luxemburg-Str. 43/45 D -10178 Berlin Germany T: +49 (0) 302 8386 464 GALERIE KAMM |
LeandaKateLouise presents TORTOISE
Rose Davey / Gary Woodley Claire Dorsett / Bruce McLean Sarah Kate Wilson / Lisa Milroy Private View Wednesday 12th February 6 - 9pm 13th February - 15th March 2014 'We called him Tortoise because he taught us.' 1 TORTOISE takes its name from a line in Lewis Carroll's novel Alice in Wonderland. LeandaKateLouise have each invited an artist who once taught them to exhibit new works alongside their own, at artist run space WW Gallery. The starting point for this show arose from a desire to exhibit with another artist whose work or influence we felt was important to our current practice. Artists could choose to show individual works or collaborate together on new work. As TORTOISE progressed, we felt it was also important to acknowledge the role of art school, as this is where we all met. From the experience of the institutions we have attended the art school is one of the last places left within education where a student's curiosity alone is enough to warrant the exploration of any chosen topic. Unexpected ideas are arrived at by having the space, time and support to follow one's own curiosity, instead of interrogating it out of action by asking how, why and when before you've even started. These lessons are learned with the support of tutors and through the interaction with fellow students. Now outside of the context of the art school and into the environment of the gallery, TORTOISE sees the role of student and teacher dissolve into artist and artist. The viewer is left to decide if the former relationship between artists continues to define the present. 1 Carroll, L. (1865). Alice's Adventures in Wonderland. London: Macmillan, p.121. LeandaKateLouise WW Gallery 34/35 Hatton Garden London EC1N 8DX Open Wednesday - Friday 11 - 6pm, Saturday 11 - 4pm LeandaKateLouise 
Molly Zuckerman-Hartung
oi, 2013
oil, acrylic, enamel, and spray paint on canvas
72 x 48 inches
Courtesy of the artist and Corbett vs. Dempsey, Chicago
Photography by Tom van Eynde, Chicago
MOLLY ZUCKERMAN-HARTUNG
Violet Fogs Azure Snot February 7 - March 15, 2014 Opening reception: Friday, February 7, 2014, 5-8 PM In the main gallery, Corbett vs. Dempsey is pleased to present Violet Fogs Azure Snot, an exhibition of new paintings by Molly Zuckerman-Hartung. The exhibition is accompanied by a full-color, 80-page catalog. In her second solo exhibition at Corbett vs. Dempsey, Zuckerman-Hartung unveils ten new paintings, almost all of them larger than her previous work. Since her 2012 exhibition at the Museum of Contemporary Art Chicago, she has been gradually pushing her multiform works in scale, stretching out, and exploring space. This is true not only in square inches, but also in terms of the way the paintings look - new pieces deploy a softer palette, stretches of unmodulated color and pattern, as well as moments of violent action and her trademark humor. Many of the works include swatches of fabric with sewn segments; Zuckerman-Hartung explores the fold in all its material and metaphorical dimensions. The extensive exhibition catalog doubles as an artist's book, with a deep portfolio of photographs taken, chosen, and montaged by Zuckerman-Hartung. The last few years have been exciting for Zuckerman-Hartung. She has exhibited in solo and group shows in Oakland, Milan, Berlin, Milwaukee, New York, Karlsruhe, Los Angeles, Düsseldorf, Athens (Greece and Georgia), Cleveland, and Miami, and was included in the Walker Art Center's Painter Painter exhibition. In March, she will participate in the 2014 Whitney Biennial. In the East and West Wings, Molly Zuckerman-Hartung has invited nine artists to exhibit works in a show titled Sensitive Instruments, in tandem with a College Art Association (CAA) conference panel on painting of the same name. Sensitive Instruments includes work by Cora Cohen, Dana DeGiulio, Abigail DeVille, Susanne Doremus, Michelle Grabner, Suzanne McClelland, Deirdre O'Dwyer, Jennifer Packer, and Monique Prieto. Corbett vs. Dempsey 1120 N. Ashland Ave. 3rd Floor Chicago, IL 60622 T: +1 773-278-1664 Corbett vs. Dempsey 
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4.2.2014.
Fountain Art Fair to Benefit the Detroit Institute of Arts
Diego Rivera, Detroit Industry, Fresco, 1932-33. Image courtesy of the Detroit Institute Of Arts
FOUNTAIN ART FAIR VIP TICKET SALES TO BENEFIT THE DETROIT INSTITUTE OF ARTS
Fountain Art Fair is once again honored to support the Detroit Institute of Arts as they fight to save their collection of over 60,000 works, held in trust for the City of Detroit. As with Fountain Chicago in September, half of the proceeds from VIP ticket sales will be donated to the institution. This comes on the heels of recent pledges by national and local foundations totaling $370 million, and a $350 million commitment from the State of Michigan. The DIA itself has committed to raise an additional $100 million in order to prevent the sale of any works of art, and to free the collection, the museum building, and associated properties from city ownership.
"Our continued alliance with the Detroit Institute of Arts fortifies Fountain's dedication to preserving the ideal that this profound American collection, and artwork in general, is for the public and not only for private collections. " states Fountain co-founder Johnny Leo.
Fountain VIPs will enjoy weekend-long perks, including exclusive access to Fountain's opening preview, guided tours and complimentary beverages, as well as exciting educational programming to be announced shortly. Fountain VIP tickets may be purchased at the event and in advance online here.
Fountain is proud to welcome back dozens of exhibitors from across the country and around the globe, featuring incredible artwork at accessible prices. Notable galleries include Fountain co-founders Front Room Gallery, DUMBO's Mighty Tanaka Gallery and Arch Enemy Arts (Philadelphia). Fountain will also feature artist installations courtesy of Claire Oliver Gallery and The Lodge Gallery, along with Christopher Stout, winner of Fountain's Bushwick Open Studios initiative and founder of the Bushwick Art Crit Group. A full exhibitor list will be announced shortly.
Fountain's commitment to fresh, engaging programming will continue throughout the weekend with highly-anticipated performances, panel discussions, featured installations and of course, affordable art. Full details including schedules and featured artists will be released over the upcoming weeks.
About DIA - The Detroit Institute of Arts (DIA), one of the premier art museums in the United States, is home to more than 60,000 works that comprise a multicultural survey of human creativity from ancient times through the 21st century. From the first Van Gogh painting to enter a U.S. museum (Self-Portrait, 1887), to Diego Rivera's world-renowned Detroit Industry murals (1932-33), the DIA's collection is known for its quality, range, and depth. The DIA's mission is to create opportunities for all visitors to find personal meaning in art.
About Fountain Art Fair - Founded in 2006, Fountain Art Fair has received critical acclaim for its unique art fair model and genuine dedication to the artists and galleries who share in its vision and ideology. Celebrated as the first of a new influential generation of alternative fairs, Fountain is reinterpreting the concept of the art fair experience and paving a new path to the future in today's market.
Stay Connected - For the latest updates on Fountain visit fountainartfair.com, find us on Facebook atfacebook.com/fountainartfair, and follow us on Twitter and Instagram at @FountainArtFair.
Fountain Times and Location - Fountain will open with a VIP and Press Preview on Friday March 7 from noon until 5pm and then to the public with a reception until midnight. Saturday March 8 we will be open from noon until midnight and Sunday from Noon until 5pm. Special events, our final exhibitor list and musical performances will be announced shortly so please stay tuned. Fountain will take place at the historic 69th Regiment Armory, located at 68 Lexington Ave (at 25th Street).
Fountain Partners - Fountain is proud to work with our supporting partner ArtFront. Interested sponsors please contact [email protected] to show support for this event.
Fountain Press - Please contact [email protected] for press inquiries.
"Fountain's fun, renegade spirit remains its hallmark. Besides over 50 exhibitors, you'll find awesome parties and interactive installations." - Metro New York
"Fountain has its roots buried in the Brooklyn art scene, but over the last decade has grown to be the bridge for future generations of artists and collectors." - Trebuchet
"The way an art fair should be." -The Economist
Fountain Art Fair is once again honored to support the Detroit Institute of Arts as they fight to save their collection of over 60,000 works, held in trust for the City of Detroit. As with Fountain Chicago in September, half of the proceeds from VIP ticket sales will be donated to the institution. This comes on the heels of recent pledges by national and local foundations totaling $370 million, and a $350 million commitment from the State of Michigan. The DIA itself has committed to raise an additional $100 million in order to prevent the sale of any works of art, and to free the collection, the museum building, and associated properties from city ownership.
"Our continued alliance with the Detroit Institute of Arts fortifies Fountain's dedication to preserving the ideal that this profound American collection, and artwork in general, is for the public and not only for private collections. " states Fountain co-founder Johnny Leo.
Fountain VIPs will enjoy weekend-long perks, including exclusive access to Fountain's opening preview, guided tours and complimentary beverages, as well as exciting educational programming to be announced shortly. Fountain VIP tickets may be purchased at the event and in advance online here.
Fountain is proud to welcome back dozens of exhibitors from across the country and around the globe, featuring incredible artwork at accessible prices. Notable galleries include Fountain co-founders Front Room Gallery, DUMBO's Mighty Tanaka Gallery and Arch Enemy Arts (Philadelphia). Fountain will also feature artist installations courtesy of Claire Oliver Gallery and The Lodge Gallery, along with Christopher Stout, winner of Fountain's Bushwick Open Studios initiative and founder of the Bushwick Art Crit Group. A full exhibitor list will be announced shortly.
Fountain's commitment to fresh, engaging programming will continue throughout the weekend with highly-anticipated performances, panel discussions, featured installations and of course, affordable art. Full details including schedules and featured artists will be released over the upcoming weeks.
About DIA - The Detroit Institute of Arts (DIA), one of the premier art museums in the United States, is home to more than 60,000 works that comprise a multicultural survey of human creativity from ancient times through the 21st century. From the first Van Gogh painting to enter a U.S. museum (Self-Portrait, 1887), to Diego Rivera's world-renowned Detroit Industry murals (1932-33), the DIA's collection is known for its quality, range, and depth. The DIA's mission is to create opportunities for all visitors to find personal meaning in art.
About Fountain Art Fair - Founded in 2006, Fountain Art Fair has received critical acclaim for its unique art fair model and genuine dedication to the artists and galleries who share in its vision and ideology. Celebrated as the first of a new influential generation of alternative fairs, Fountain is reinterpreting the concept of the art fair experience and paving a new path to the future in today's market.
Stay Connected - For the latest updates on Fountain visit fountainartfair.com, find us on Facebook atfacebook.com/fountainartfair, and follow us on Twitter and Instagram at @FountainArtFair.
Fountain Times and Location - Fountain will open with a VIP and Press Preview on Friday March 7 from noon until 5pm and then to the public with a reception until midnight. Saturday March 8 we will be open from noon until midnight and Sunday from Noon until 5pm. Special events, our final exhibitor list and musical performances will be announced shortly so please stay tuned. Fountain will take place at the historic 69th Regiment Armory, located at 68 Lexington Ave (at 25th Street).
Fountain Partners - Fountain is proud to work with our supporting partner ArtFront. Interested sponsors please contact [email protected] to show support for this event.
Fountain Press - Please contact [email protected] for press inquiries.
"Fountain's fun, renegade spirit remains its hallmark. Besides over 50 exhibitors, you'll find awesome parties and interactive installations." - Metro New York
"Fountain has its roots buried in the Brooklyn art scene, but over the last decade has grown to be the bridge for future generations of artists and collectors." - Trebuchet
"The way an art fair should be." -The Economist
31.1.2014.
Galerie Christian Lethert, Cologne presents
GROUPSHOW
Exhibition: 17 January - 22 March 2014
We are pleased to announce our annual GROUPSHOW including works by all 13 artists of the gallery. This time we are happy to introduce US American artist Sadie Benning. This gives you a preview on our joint COLLABORATIONS booth, together with New York based gallery Callicoon Fine Arts at the upcoming Art Cologne in April.
In the entrance of the gallery Gereon Krebber (*1973) shows his new aluminum sculpture Chunkie. Large ivories seem to have bitten a big chunk out of stacked aluminum blocks. Katharina Sieverding's large photo work Kontinentalkern IX (1987) shows an image of a scene in Hiroshima overlaid by a uranium radiation. This body of work by the Düsseldorf based artist critically discusses nuclear phenomena. Last year the Museum Schloß Moyland showed an extensive soloexhibition on Katharina Sieverding's work with the title Weltlinie 1969-2013. 
In the second gallery room Kai Richter's black and orange steel trestles INFRA brace the space from floor to ceiling. The works by the Düsseldorf based artist (*1969) will be part of the exhibition Raw Materials - Vom Baumarkt ins Museum at the Städtische Galerie Bietigheim-Bissingen, opening on January 17th, 2014.
Rana Begum's (*1977) post-minimal form vocabulary is not only influenced by Donald Judd and minimalist art in general but also by modern architecture and urban structures. The threedimensionality is an important aspect to Begum's works that are mostly multi-perspective and offer a vast number of possible angles from which the viewer can choose his or her perfect position to look at it. In our GROUPSHOW we present the new 4part aluminum piece No. 486. At the upcoming Art Brussels next April we will show a solo presentation with the London based artist. The large diptych irresistible non-solution #15 by Dutch artist Nelleke Beltjens (*1974) was made during a residency in Berlin over the last summer: "Contemporary life is characterized by uncertainty and complexity. The persistent feeling that we are living in an in-between stage is becoming more and more apparent; change is not only an idea, but rather felt on many levels. Nothing is solid, all is fragmented and in movement. I use the medium of drawing to create highly intricate structures alluding to the over-complexity of our reality". (Nelleke Beltjens) 
From the beginning of his artistic career Düsseldorf based Imi Knoebel (*1940) has been committed to strictly non-representational art. The painting Sandwich from 1993 consists of three plywood panels that are only painted with red, blue and yellow from the inside. The actual painting only reveals at the edges of the minimalistic painting, whose material refers to early works on plywood such as the famous Raum 19 which Knoebel built during his studies at the Kunstakademie Düsseldorf in the late 1960s.
Berlin based artist Jorinde Voigt (* 1977) has been developing conceptual drawings on paper since 2002, referring to them as notations and scores. Voigt constructs an ordering system, as complex as it is individual, in order to survey invisible processes in our present day with a system of drawing-like codes. We are showing two lithographs from the series Symphonic Parts. We are happy to announce our second participation in Art Los Angeles Contemporary from January 30 to February 2. Furthermore we will again exhibit at this year's Drawing Now Paris in March and the upcoming fairs Art Cologne and Art Brussels in April. During the fair in Cologne we plan to show our first solo exhibition with Imi Knoebel. |
Jill Baroff's 5part drawing Translations was made in 2000 and is drawn with graphite on Japanese gampi paper. They are short, visual poems, whose meaning is derived from breaking apart the character structures of Japanese Kanji. For instance, the Japanese character for "infatuation" is made up of the three images (or compound ideograms) water/weak/love : "It suggested the image of drowning to me and so the words float down through a divided atmosphere of stacked gampi." (Jill Baroff)
Past September we have shown Daniel Lergon's (*1978) solo-exhibition POTENTIAL EISEN in the gallery. His latest painting on copper is part of his body of work using powdered metal. The Berlin based artist grounds the canvas with metal and then paints with acidified water instead of pigments. The potential of the painting's surface is chemically aroused. With The Meadow Irish painter Fergus Feehily (*1968) once again demonstrates his inexhaustible sensitivity for painting, material and theory. A green net of rhombus patterns on a light-rose wooden panel is covered with a touch of white paint which turns the color into subtle shades of green. In 2013 Feehily's sophisticated compositions were again part of important painting exhibitions such as in the Walker Art Center Minneapolis and the Arthur Boskamp Stiftung in Hohenlockstedt. 
Berlin based artist Max Sudhues (*1977) shows two photo works of his latest series Damrosch that refers to an installation project which Sudhues carried out in Lüdenscheid last fall. In the context ofLichtrouten he reinvigorated a forgotten and abandoned corporate area artistically. Found objects are insulated from their original context and surrounding to be verified of their formal beauty and poetic quality.
The work Turbulences by Cologne based artist Lutz Fritsch (*1955) is part of a new body of work. In his series of sculptural drawings two color fields take up position and are surrounded and captured by circling forms. A powerful area of tensions evolves in the dynamic between the rotation of the line and the static color fields. Last fall we have launched our first publication on Joe Fyfe's work, including an extensive selection of works and an interview in the back. We are happy to present a hanging wall sculpture of wood and plaster by the New York based artist and critic (*1952), which can be seen on the catalogue's cover page. 
GALERIE CHRISTIAN LETHERT
ANTWERPENER STRASSE 4 50672 COLOGNE, GERMANY T +49(0)221 3560590 F +49(0)221 3560554 www.christianlethert.com 
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23.1.2014.
Photography, Film & Video
Galerie Voss, Düsseldorf
Kopeikin Gallery, Los Angeles
Martin Asbæk Gallery, Copenhagen
VAN HORN, Düsseldorf
Galerie Les filles du calvaire, Paris
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Galerie Voss, Düsseldorf
Iwajla Klinke
Settimana Santa II, 2012
Photograph150 x 111 cm
Courtesy of the artist and Galerie Voss, Düsseldorf
IWAJLA KLINKE
RITUAL MEMORIES January 17, - March 01, 2014 Catalogue available (64 pages with a text by David Galloway). With a cast of colorful characters who would do justice to any repertory stage, Iwajla Klinke infuses portrait photography with the magic and elegance of its early years, when one of its primary goals was to document and celebrate ritual moments in an individual's life. The snapshot aesthetic of the last century and the ubiquity of digital images today has diminished the ceremonial aspect of picture-taking in favor of what William Eggleston once termed the "democratic camera." In contrast, ceremony is at the core of Klinke's approach. Her camera records subjects whose very clothing points to individuality, even to eccentricity, and where ritual is implicit. All of these studies are presented in a formal manner that sometimes recalls the conventions of the painted portrait. (The fact that Klinke's works are printed with pigments on handmade paper further strengthens this link to classical traditions of picture-making.) With minimalist means, she achieves results of immense visual authority. The elegant serenity of these compositions belies the haphazard circumstances that frequently surround their production in remote Carpathian villages or in Germany's Black Forest. In 2013 alone Klinke was under way in Europe, Canada and Brazil. Her work can be seen in the tradition of the artist-traveler seeking and recording new impressions - much like those German artists who visited the New World in the 19th century in order to create visual records of vanishing tribes of Native Americans. For a single image in her own "Settimana Santa" series, Iwajla Klinke once traveled for 20 hours by bus to reach a small community in Sicily on Easter Sunday morning. By the time she located her young subject, less than a minute remained before mass began - time enough, though, to fasten a simple piece of cloth to the vestry door and photograph a young boy dressed as an angel. Such three-quarter studies, with a neutral background of black or brown, use natural light to create sepia-like effects strikingly reminiscent of a Vermeer painting. Yet what also seems to radiate here is an inner light, a kind of epiphany deeply rooted in rituals whose origins may well have been forgotten but whose spiritual energy persists. While Klinke has also produced theatrical studies of young people with bizarre accessories or in the contemporary "costumes" of fencers and American-style footballers, her signature pieces are studies of children dressed in elaborate traditional garb, often richly embroidered. For these studies the artist only works within the context of the religious ceremonies in which such attire is actually employed. There is no studied "posing" or extra dressing-up. This, she feels, would undermine the authenticity she seeks. Often a project may seem a race against time, since the use of a particular elaborate headdress in a single mountain village may be the last, fragile vestige of ancient ceremonies otherwise forgotten. Such work has an obvious documentary dimension, though Klinke sees this as secondary. "I don't choose subjects for their anthropological value," the artist insists. "I choose them for their beauty." Nonetheless, the search for a motif may well involve considerable research and cross-cultural savvy. Serendipity, however, can also play a role - as in the recent discovery in Toronto of old-fashioned display mannequins wearing "communion suits" and lace ribbons bearing the name "Jesus" alongside a chalice. In attempting to decode Klinke's multivalent oeuvre, it is interesting to note that she grew up in East Germany, where her mother's family moved after World War II for ideological reasons, hoping to fulfill the dream of a better world. Her father, a Bulgarian opera singer, died when Iwajla was only six years old. "I had no religious upbringing," Klinke explains, " but I was fascinated by religious rituals, especially those involving children. These always have something to do with the conquering of death, and they are often accompanied by fertility symbols like the crown." The fascination such rituals exerted was deepened by the discovery of The Golden Bough, Sir James Frazer's comparative study of mythology and religion. In what would prove one of the most influential texts of the last century, the author approached religion as a cultural phenomenon, not from a theological perspective. Virtually all religions, he argued, derived from fertility cults revolving around the worship and periodic sacrifice of a sacred king. As such ceremonies evolved, the figure of a child - as martyr or as bridegroom - might replace the ancient heroes. It was in Berlin's rough-and-tumble, multicultural Kreuzberg district that Klinke started photographing interesting figures she encountered in local parks and bars. She was particularly fascinated by subjects with all-over tattoos - with "magic texts," as she called them, thus echoing a phrase from Frazer's opus. In addition, she might ask young people to pose for her, clothed only in scraps of antique lace, necklaces of paper doilies, shuttlecocks or white mice, even with epaulets of dripping candles. More recently, she has created three studies of young men with body painting that imitates the blueand- white "Musselmalet" pattern introduced by Royal Copenhagen Porcelain in the 18th century but loosely derived from Meissen's blue-and-white onion pattern. The slender figures of the three young men who "model" the cobalt-blue ornamentation have a touching fragility - like fine porcelain itself. (They are also a reminder that among tribalist cultures body painting frequently accompanied rites of passage, hunting and warfare.) The delicacy of the "Musselmalet" figures is even more dramatic if compared to the rugged cadets, in full Scottish dress regalia, who make up the series entitled "White Crowned Sparrow." (As pupils at a Canadian boarding school, the cadets depicted here suggest that the outward trappings of ritual can also be effectively "transplanted.") What such works have in common and share, indeed, with the portraits of Deaconesses in crisp white caps and bows is that all the protagonists wear a sort of uniform. That uniform, in turn, signifies shared values and goals. Far from suppressing individual identity, here the uniform actually enhances it. In the case of Klinke's startling portraits of "Bee Kings," the helmet worn is not only alive but also potentially lethal. Despite the impressive range of her more recent works, Klinke's true trademark emerges in her stunning portraits of children dressed in ceremonial garments. Many of these date to the 19th century, symbolizing beliefs "that live on in the form of rituals," according to the artist. Despite the speed a sitting may demand, one senses a very special relationship between the artist and her models. Whatever their age, the latter seem to surrender themselves gladly to the inquiring eye of her camera, while she in turn imbues her sitters with a compelling dignity. - David Galloway Galerie Voss Mühlengasse 3 Düsseldorf D-40213 Germany T: +49 021113 49 82 Galerie Voss, Düsseldorf VAN HORN, Düsseldorf
RAPHAEL DANKE & MIROSLAV TICHY
CLICK, CLICK 17 January - 28 February 2014 We are delighted to present the first joint exhibition by Raphael Danke and Miroslav Tichy. The exhibition's title refers to the "Click, Click" that eccentric, multimillionaire and surrealist Edward William Frank James would eject in order to mark a specific moment he wanted to capture in his memory. Raphael Danke became aware of his connection to Tichy after seeing one of his own works installed in proximity to a photograph of Tichy's at a collector's house and thus developed the exhibition at VAN HORN. Both artists deal with the quality of destruction and beauty. Instead of wanting to create a 'perfect image', they are concerned with the process of seeing and capturing an impression which does not please the eye by means of technical perfection. Thematically as well as technically, the parallels between Tichy and Danke are obvious, suggesting a joint exhibition. Danke utilises a mobile phone's camera for his photographs while Tichy uses inferior devices fashioned from everyday findings. This often leads to under- or overexposure and blurry motifs. By exposing pages from magazines, Danke destroys the given image in its original form. Tichy's work, however, is subject to a rather inevitable type of destruction: as he never intended to present his photographs in art exhibitions, he treated them carelessly, the result of which are stains and scratches, which account for the charming and poetic character of his work. Women constitute the central motif of both artist's works. For decades, Tichy photographed women in everyday situations in Kyjov. This method yields natural, unposed scenes with an immanent, voyeuristic appeal. Due to their technical imperfection, the images seem to oscillate between dream and reality, revealing an individual form of female beauty. Danke achieves a similar effect by making use of pages from fashion magazines, displaying mainly female models, which he illuminates from behind and then photographs. Consequently, the magazine's back and front page melt onto one level. Furthermore, Danke works with collages made from fashion magazines. The resulting abstract forms and architectures turn the original body into a mysterious, non-representational object. Danke's oeuvre should be understood as a surrealist commentary on the contemporary fashion industry whose product apparatus generates a distorted body image as well as constantly new forms and quality of fetish. Moreover, Danke's 'Leg Sculptures', which relate directly to Tichy's photos, will be shown for the first time in the context of this exhibition. The exhibition is part of the Düsseldorf Photo Weekend, 31 January to 2 February 2014. VAN HORN Ackerstr. 99 40233 Düsseldorf Germany T: +49 211 5008654 VAN HORN, Düsseldorf 
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Kopeikin Gallery, Los Angeles
Kevin Cooley
Anza Borrego, 2013
archival pigment print
48x60" ed 1/7+1AP
Courtesy of the artist and Kopeikin Gallery, Los Angeles
KEVIN COOLEY & PHILLIP ANDREW LEWIS
UNEXPLORED TERRITORY January 11 - February 22, 2014 The Kopeikin Gallery will present UNEXPLORED TERRITORY, an interdisciplinary campaign charting the limits of human exploration and our desire to conquer and control nature by Kevin Cooley andPhillip Andrew Lewis. Working with a set of themes ranging from early control of fire, colonial exploration of the American West, harnessing fire in the form of combustion to launch rockets into space, to anthropomorphic actions of everyday objects such as box fans, and helium balloons, this body of work exposes a layered relationship between technology's abstractions and certain universal truths. Encompassing photographs, photograms, videos, and works on paper, this collection of disparate, yet interconnected work is an attempt to understand how everything has the potential to be simultaneously beautiful and destructive. Through figurative and metaphorical gestures and the power of direct representation, the artists' work navigates this terrain without repetition of subject matter, offering the viewer a multifaceted window into their artistic space. Works by Kevin Cooley in the exhibition include the following. Anza Borrego, a large format landscape photograph tracing Mexican explorer Juan Bautista de Anza's path through the Southern California desert which now bears his name. NROL-65 Spy Satellite Launch, a photographic quadriptych of a recent launch of a spy satellite for the National Reconnaissance Office from Vandenberg Air Force base, transforming from a plume of rocket exhaust into a seemingly perfect cumulus cloud. Starlight Trajectory is a large scale photogram resembling a comet or explosion in interstellar space, created by exposing photographic paper to a Starlight Candle- a roman candle firework. Images from Controlled Burns, a series of photographs of swirling and imposing clouds of smoke contend with one another in a physical battle between diametrically opposing explosions of black and white. And Smoke Bolides, unique works on paper made by smoke residue, which resemble falling meteorites. Works by Kevin Cooley and Phillip Andrew Lewis include the following videos and related photographs. We Can Break Through presents a pair of standard box fans connected to a single common power strip. These coexisting machines morph from inert mechanical objects to dancing, dueling entities that ultimately bring about their own demise. In North of North Stars, clusters of white balloons float off into the darkened night sky while black balloons sail into an overcast daytime sky. As both groups blend together on an endless loop in this dual channel video, they bring into question perceptions of scale and distance. The Silent Chorus is a two channel video on small vintage televisions where two piles of black and white dust rapidly succumb to erosion by gusts of wind, offering illusions of purity and perfection as they mix to form a cloud, a short commentary on temporality and the law of entropy. This is Los Angeles-based artist Kevin Cooley's second solo exhibition with The Kopeikin Gallery, which runs concurrent with Kevin Cooley: Elements at the Museum of Photographic Arts in San Diego. Cooley's photographs were recently acquired by the 21c Museum (Louisville, KY), and he is a 2013 recipient of a Center for Cultural Innovation ARC Grant (Los Angeles, CA). Phillip Andrew Lewis is an interdisciplinary artist based in Chattanooga, Tennessee. He is a recipient of a 2012 Creative Capital Grant for his ongoing project SYNONYM. Both artists were in residence at The Bemis Center for Contemporary Arts, (Omaha, NE) where they met and began working together. Cooley and Lewis' first collaborative commission Through the Skies for You won the 3-D Award at ArtPrize 2013 (Grand Rapids, MI) and their exhibition as a collaborative team will open at Zeitgeist Gallery (Nashville, TN) March 2014. The Kopeikin Gallery 2766 La Cienega Blvd Los Angeles, CA. 90034 T: +1 310-385-5894 Kopeikin Gallery Martin Asbæk Gallery, Copenhagen
Matt SaundersLouise Brooks #6, 2012-2013
silver gelatin print on fiber-based paper
148 cm x 102 cm
Courtesy of the artist and Martin Asbæk Gallery, Copenhagen
MATT SAUNDERS
SLOW FADING HAND 17 January - 1 March 2014 Matt Saunders explores and re-positions the space between painting and photography. The enigmatic black-and-white works on paper were created by projecting light through a drawing or painting so that the subject is revealed on a sheet of photosensitive paper. The works are given photographic expression without the use of a camera. The works for the exhibition were created as an extension of Saunders' solo exhibition Century Rolls at TATE Liverpool in 2013. They involve uprooting the photographic process and moving it towards a more painterly process. Nevertheless the works stand at a distance from our traditional view of a painting, with their X-ray-like images and the way they almost imitate painting. Yet they are still paintings made by hand, whose expression is displaced back into a photographic form. In the exhibition Saunders will show the film China in Nixon, which moves through a series of ink-on-mylar drawings edited together into a fluid if elliptical narrative despite the leaps in time and place. The film investigates how content and material can work together across boundaries. With his fascination with the well-known iconic personalities of the period, Matt Saunders uses existing photos - for this exhibition the Danish actress Asta Nielsen is briefly in focus, through her career in Berlin. Her recognizable androgynous aura, her dark seductive gaze and mysterious attitude made "Die Asta" the greatest actress and muse of the 1910s. Asta has a central placement in the exhibition - in a portrait of her playing Hamlet - and she haunts the whole show. The portrait is surrounded by other well-known personalities from her time and up to the 1980s. Apart from the portrait of Asta all the works in the exhibition are many in a kind of narrative process or transformation. Matt Saunders (b. 1975 Washington, USA) lives and works in Cambridge, MA (USA) and Berlin (Germany). He has studied at Harvard and Yale in the USA. Over the years he has received a number of awards, including that of the Louis Comfort Tiffany Foundation (2009) and the Prix Jean-Francois Prat (2013). Saunders has had solo exhibitions at art institutions such as Tate Liverpool and The Renaissance Society, Chicago, and has participated in exhibitions at among other museums Deutsche Guggenheim, Berlin, the San Francisco Museum of Modern Art and Ps1 MoMA, New York. Martin Asbæk Gallery Bredgade 23 DK-1260 Copenhagen Denmark T: +45 33 15 40 45 Martin Asbæk Gallery Galerie Les filles du calvaire, Paris
Nelli Palomäki
Becky at 23, 2011
© courtesy Gallery Taik Persons
LA FEMME D'À CÔTÉ - THE WOMAN NEXT DOOR
Helena Almeida, Anne-lise Broyer, Paz Corona, Laura Henno, Claudia Huidobro, Karen Knorr, Ellen Kooi, Juul Kraijer, Katinka Lampe, Anni Leppälä, Elisabeth Llach, Patricia et Marie-France Martin, Marie Maurel de Maillé, Nelli Palomäki, Catherine Poncin, Dorothée Smith, Claire Tabouret, Janaina Tschäpe, Francesca Woodman, and Laurent Fievet 25 January - 22 February 2014 This exhibition evokes a theatre where women play all the possible roles from the position of direction to action. The stage varies: the interior of a bourgeois villa, the rooms of an abandoned house where stories seep out of walls and furniture, out of an artist's or a photographer's studio. Those women-heroines act in the shadows of streets lined with buildings, trees or a river bed. The tone alludes to tragedies. But the end of the story remains in suspense and the interpretation open to the viewer's own appreciation. Here, heroines don't yield to the temptation that consumes Mathilde, the leading figure in Truffaut's movie. They're driven by the same blast as the artists that create them: without whose gaze or gesture, they could as well have stayed off-stage, aside, next door. If the scenery and stories change from one piece to the other, every single one develops - on its own or in an ensemble- the portrait of a specific woman. Be it faint or loud, smooth or squeaky, imperceptible or deafening, a female voice emerges, a face appears, and a woman is embodied in the artwork. What this woman decries (be she real or imaginary) is translated by this other woman: the artist. In this echo chamber, a woman appears next to another and their respective stories -lived or imagined- resonate with each other. Favoring feminine subjects, these artists speak of themselves as well as of long-standing patterns. Some start their work by a re-enactment of characters they know and whose references can be artistic (pictorial, literary or cinematic) as well as popular, while others pick anonymous ones, deliberately chosen amongst their relatives. The diversity of media that these artists dive into is a way of engaging more thoroughly with the issue of the feminine image. If some revive painting, others refer to pictorial models, using codes which belong to the photographic medium. Their choices of black and white or colour becomes the vehicle of their speech on the subject whilst at the same time it could also be used to challenge it. Photographic classical portraits stand alongside found images that combine together to create new works. Sculpture and video add movement to the ballet of those feminine portraits and multiply its echo. These mixed-media artists deform or even break the fetters of the portrait's traditional codes, examining value and questioning the very basis of the often stereotyped and fantasized historical and contemporary representations of the feminine. Different images reflect the changes in women's social status over the years, as women tried to define themselves and take their position in a masculine-dominated society. The artists play on a re-interpretation of woman's perception through the various representations one could have of womanhood. In between two extremes -the traditional point of view of a sensitive, weak, fragile and needy woman and the strong, independent, in control of herself, a masculinized woman's image which feminism praised and created- the one these artists propose is an image discharged of all those clichés and finely shaded. The image of a woman that can melt into several characters, wear different clothes, and live with all of them. It is those different women that one can find in these artworks, the feminine characters in the works are as complex as the artists who shape them. It is those dialogues between the authors and their works, that in this gathering give birth to a pluralist, and richly diverse vision of their individual re-enactment, a more essential vision of womanhood. This exhibition engages with a kaleidoscopic image of women through which the curtain of the everyday life and its triviality unveils a feminine wonder-room leading us out of the ordinary. - Charlotte Boudon, Paris, 2013 Galerie Les filles du calvaire 17, rue des Filles-du-Calvaire 75003 Paris France T: + 33 (0) 1 42 74 47 05 Galerie Les filles du calvaire |
21.1.2014.
Painting & Drawing
ALEXANDER OCHS GALLERIES BERLIN | BEIJING
INTERSTATE, New York
GALERIE PETER KILCHMANN, Zurich
GREEN ON RED GALLERY, Dublin
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ALEXANDER OCHS GALLERIES BERLIN | BEIJING
Lu Song
Autumn Chill, 2013
100 x 80 cm
Oil on canvas
Courtesy of ALEXANDER OCHS GALLERIES BERLIN | BEIJING
LU SONG
HILLS BEYOND THE BACKDROP 18 January - 8 March 2014 Opening: Friday, 17 January 2014, 7 pm - 9pm The title Hills Beyond The Backdrop refers to Lu Song's approach of image conception, 'Backdrop' in the sense of a coulisse whose beginning and boundaries appear to be indistinct. Metropolitan dreams of nature and compressed urban spaces serve as motifs for the artist. Sketching his exhibition, Lu references "Place", a text by Tacita Dean and co-author Jeremy Millar. Peking-based Lu finds the citizens of metropolises to be chased by their wishes and fears, yet remaining in a situation of rising anonymity and strangeness. Anonym strangers struggle through increasingly equal looking cities, fighting for their survival. Hills beyond... For Lu Song, hills are supposed to be a place beyond the cities, where the pressure loosens for the metropolises' inhabitants, we can forget things and get lost. Places from where gates of new, individual possibilities open. In fact a lot of his often surreal motifs picture urban housing complexes in the middle of faraway landscapes or even people whose actions appear to be strange or at least curious. The landscapes are fanciful and his scenery's narrative often indefinite. They could be images from a dream world or a fleeting moment in the artist's mind. Lu Song's artistic development can be observed in his remarkable use of color, which enables him to create unique effects and atmospheres. The paint proves to be a crucial element in his compositions. While some parts of his paintings are precisely carried out with clear outlines, other allegedly important areas, possibly determining for the plot, are only dimly suggested. He lets the heavily diluted paint run across the canvas in a way that figurative structures are not formed by a clear brush strokes, but by the rills of the mixing paints. Despite all unpredictability of the material Lu achieves to control the process of image development by leaving certain parts of the canvas unpainted and like that skillfully carves out his subject. Lu Song and his paintings deliberately turn away from those real or apparent realities that are an omnipresent theme for many other Chinese painters. The European influence of the artist, who returned to Peking after finishing his Fine Art studies in London, is still noticeable. Yet, his relation with Asian art is just as obvious as his need to experiment with painting techniques and image content. ALEXANDER OCHS GALLERIES BERLIN | BEIJING Besselstraße 14 D-10969 Berlin Germany T: +49 (0) 30 24 00 866 80 ALEXANDER OCHS GALLERIES BERLIN | BEIJING GALERIE PETER KILCHMANN, Zurich
MARC-ANTOINE FEHR
Der Verschollene (The Man Who Disappeared), 2013
Oil on canvas
277.5 x 401.5 cm (109 1/4 x 158 1/8 ins.), framed
Courtesy the artist & Galerie Peter Kilchmann, Zurich
MARC-ANTOINE FEHR
FÊTES January 17 until March 1, 2014 Opening: Thursday, January 16, 6-8 pm Galerie Peter Kilchmann is happy to rediscover renowned Swiss artist Marc-Antoine Fehr for a wider audience. For the first time, the gallery presents a solo exhibition featuring the full power of Fehr's paintings and drawings. Born in 1953, the artist now lives between Zurich and Pressy-sous-Dondin in Burgundy. Fehr, the autodidact, has dealt with classical, figurative painting since the 1980's. His impressive, mostly largeformat works oscillate between classical and magic realism. Often located in monumental dream worlds, populated with real and artificial figures, they narrate about unfulfilled longings, of loneliness and of events in alternate universes. Under the title Fêtes, in English Festivals or Celebrations, Fehr presents his new paintings and works on paper; around 20 new works will be on display. They are not to be perceived as a series but as independent imageries. Usually only after years, Fehr is re-attracted by found toy figures and objects, mostly drawn by the ravages of time and use, and breathes new life into them. Also, motifs found in his immediate environment play a major role. In the large-format work "Der Verschollene" (above, "The Man Who Disappeared" , 2013, oil on canvas, 275 x 400 cm) a small advertisement figure made of iron acted as a model. It is a servant with a tray that Fehr has found years ago in an antique shop. The figure is floating horizontally, in front of a neutral, blue background, without revealing a story - and still, it begs the question where the solidified creature has raptured off. The title refers to Kafka's novel, in which protagonist Karl Rossmann, employed as a bell boy for some time, is mercilessly dismissed because of his moral courage. Fehr's vision can be taken as a monument to this small, brave and insignificant man and to all of his kind that once lived and are still living. "Le livreur égaré" (2013, oil on canvas, 200 x 270 cm) in English "The stray deliverer" shows a horse-drawn carriage with a coachman riding along a meagre landscape fragment. Another work depicts an abandoned resting place. Tables and benches are deserted, the traces of former sociability long wiped out (Rastplatz, 2013, oil on canvas, 100 x 250 cm). "Le baiser des masques" (2013, oil on canvas, 320 x 285 cm) illustrates the immersion of two faces or rather masks into each other in diverse film stills; there are 77 suspended moments of encounter and subsequent separation. Other works deal with familiar subjects. The servant meets us again lying on a toy car (Reklameauto im Schnee, 2013, oil on canvas, 120 x 160 cm) or standing in the night (Der Diener, 2013, oil on canvas, 160 x 120 cm). Interior views of masks make unknown, strange downsides visible (Grand détail du masque retourné, 2013, oil on canvas, 200 x 270 cm). Small, suspended toy figures and horse-drawn carriages are staged in icy, snow-blown winter landscapes; in "La lecture" (2013, oil on canvas, 160 x 115 cm) the scenery is constructed in front of a reading boy, of which only the abstracted head is visible. The well-known couple of Pierrot and Midas will have their last appearance (Pierrot et Midas, 2013, oil on canvas, 130 x 160 cm); the discarded wooden figures, such as those used in shooting galleries, have repeatedly served the artist as inspiration. Now, the cycle comes to an end, Pierrot and Midas are bedded side by side on white linens, united by fate for all eternity. It seems as if they have finally found their long-awaited peace. Works from Fehr, in particular from the Pierrot and Midas cycle, were exhibited in the solo exhibitionStill Life / Le paysage sans fin at Helmhaus, Zurich, 2011. The corresponding catalog will be available at the gallery. Fehr was further included in group exhibitions such as Voir est une Fable at Chambres à Part, Paris, 2013, Interiors at the Aargauer Kunsthaus, Aarau, 2009, or Diana und Actaeon at the Museum Kunstpalast, Dusseldorf, 2008. The Kunstmuseum Zürich, the Aargauer Kunsthaus, the Kunstmuseum Olten, the Federal Art Collection in Berne and the Collection Frieder Burda in Baden-Baden, to name but a few, have works by Fehr in their collections. GALERIE PETER KILCHMANN Zahnradstrasse 21 CH-8005 Zurich Switzerland T: +41 44 278 10 10 GALERIE PETER KILCHMANN |
INTERSTATE, New York
Heather Guertin
MA (Modern Architecture), 2013
oil on canvas
68 x 48 inches
Courtesy of the artist and Interstate, Brooklyn, NY
HEATHER GUERTIN
Heand January 11 - February 15, 2014 INTERSTATE is pleased to present Heather Guertin's first solo exhibition in New York, Heand. The following is an excerpt from the exhibition's catalog essay Look and Look Some More by Jamie Sterns. ...The first thing you see is the color. The palates are specific and varied but share a quality of light. There are hues that compliment, dissolve, heighten and erase. There are shapes, squares, swirls, and areas of fade that remind you of a room or a field or a curtain, someplace indistinct yet familiar somehow. Then there are these people. These faces in profile, some with eyes, most blank, some in three quarter turn. You know it's a face somehow even though you are given only the slightest cues. Then there are these bodies, these limbs and feet and most importantly there are these hands. They are flicked out or directed in such a way that you can feel the mood lingering in the air or a question waiting for reply. These figures in these colorscapes are not built into the paintings. They do not inhabit the space that surrounds them. Instead, they are carved out from the paint with a knife-like swiftness. These faces, bodies, and hands make you think of stories. They make you imagine that the colors, the opacity and lightness of the surface are more then just pigment. Each brush stroke becomes something. Each color means something. They create traces and these traces lead you to a story. The story is loose, it is yours as you imagine it but there is enough suggestion in what is painted to nudge at your thoughts. Heather Guertin creates figures that are in a state of becoming and you can see this in how the oil paint creates movement and energy. The tenuousness of their creation is suggestive of the conflict of the human condition and the ways in which it is unsteady and impermanent. These works are visualized attempts to becoming realized in the body and self in a universal way. The paintings are not an autobiography or a stand in for one, it is not about her, Heather, it is about how this is what we all face; trying to achieve self realization without having all the parts, answers, or even knowing the right questions to ask. Heather Guertin was recently included in a three person exhibition at Thomas Duncan Gallery in Los Angeles and performed in conjunction with the Carnegie International. Her work has been exhibited in New York at Interstate Projects in conjunction with 247365, Jack Hanley Gallery, Marianne Boesky Gallery, Bortolomi, Harris Lieberman and Lisa Cooley, and at Young Art in Los Angeles. She will be included in upcoming exhibitions at Malraux's Place in Brooklyn and Brand New Gallery in Milan. Heather Guertin received her Masters degree at the Art Institute of Chicago. Last year she published a novella titled Model Turned Comedian. She is currently working on her second book Not Yet Titled, Cambodia. INTERSTATE 66 Knickerbocker Ave Brooklyn New York, NY 11237 INTERSTATE GREEN ON RED GALLERY, Dublin
Damien Flood
Courtesy of Green On Red Gallery
DAMIEN FLOOD
Interior Sun 16 January - 22 February 2014 Opening Reception: Thursday 16 January, 6 - 8pm Green On Red Gallery is pleased to announce the opening of an exhibition of new work, Interior Sun, by Irish artist Damien Flood on Thursday, January 16, 2014. In this body of work called Interior Sun the artist continues to intrigue and surprise with paintings that rely heavily on the quality and the direction and the brevity of the painted line, among other things. The same line varies between having descriptive, diagrammatic or even ideogrammatic powers in a witty and confident turn to an increasingly light touch. It also does not add up or conclude. Reminiscent of an earlier work called Red Line, paintings like Pipe and String charm the viewer with their whimsical and contradictory logic. Repeatedly his compositions defy easy legibility. They hover, in fact, on the lip of being gauche or failing outright. The tension is sharpened by the lack of definition or clear description. Space is inchoate and ambiguous, a fact which only asserts and intensifies the experience of the painted surface. Flood invents a manner of painting and composing that is out on its own. To say that it is a new abstraction that is not hidebound is an understatement. Look at the jostle of marks and strokes and lines in Slouchor how little Bather, as a title, tells us about the " scene " depicted. There is no scene. A presence is the most generous description of what is held in suspension between two flag-like, typically muted and mustard-coloured flat panels, one above, one below, both flying from the same black line or pole. It has been said that : " These works challenge how the viewer is placed within the psychological space of the painting. Interchanging notions of placement, i.e grounded, floating, underground, viewing from inner-consciousness to outer-consciousness to outer space displace the viewer and instil an otherworldly mood within them. " Flood marries abstraction with representation, elegant phrases with mute absence, meaning with nonsense, questions with more questions. Colour is utilized in both harmony and discord, the image can be tantalizingly comprehensible and frustratingly unreadable. As viewers we are pitched into a gladiatorial arena where the techniques of painting insist on their own importance while supporting their ability to offer fictional depiction. It is testament to the fluency and multilingualism of Flood's skill that in successive bodies of work he is able to keep the field of engagement so open. ( Patrick Murphy, Director, RHA ) The palette remains predominately earthen and dun with occasional flourescent accents of turquoise or vivid pink. Each mark feels more daring and honest and increasingly independent or other-worldly. There is an unpredictability and courage here that is nerve-tingling and alive. For an expansion of these ideas and more information you may attend a conversation between the artist and James Merrigan in Green On Red Gallery on 12 February in the gallery at 7pm. Flood's work has recently been exhibited in curated exhibitions in the Arthur Boskamp Foundation, Germany, Galleria Civica di Modena, Italy, Domo Baal Gallery, London. GREEN ON RED GALLERY 26-28 Lombard Street East Dublin 2 Ireland T: +353 1 671 3414 GREEN ON RED GALLERY |
Welcome to Art Rotterdam
6 - 9 February 2014
New location: Van Nellefabriek
Art Rotterdam is the place to discover young art. We celebrate the 15th edition at a new location, the Van Nellefabriek is for every art lover an unique chance to experience Dutch architectural history. All sections of the fair are now under one roof: Main, New Art and Projections; the second edition of the innovative video section. At the 2013 edition Projections world-premièred at Art Rotterdam. De video section received international praise by both visitors and press. The coming edition is again promising with 19 top galleries that show a film or video in an open and interactive setting.
In and around the Van Nellefabriek various pop-up shows and artist presentations can be seen. The Mondriaan Fund shows young talent in a spectacular hall of the Van Nellefabriek at the exhibition Prospects & Concepts. On show is the work of 92 visual artists that have received a financial contribution by the Mondriaan Fund in 2012 to start their career. All disciplines are represented, painting and installations, photography and performances - and unknown talent as well as artist that have established a name already.
Participants Art Rotterdam
Main Section
acb Gallery [HU], AD Gallery [GR], Akinci [NL], Galerie Paul Andriesse [NL], Edel Assanti [UK], Willem Baars Art Consultancy [NL], Anita Beckers [DE], van den Berge [NL], Boetzelaer|Nispen [NL], Canvas International Art [NL], C&H art space [NL], Kristof De Clercq gallery [BE], Cokkie Snoei [NL], CultClub [NL], dépendance [BE], Feldbuschwiesner [DE], Flatland Gallery [NL], Galerie Fortlaan 17 [BE], Galerie van Gelder [NL], Grimm [NL], Jeanine Hofland Contemporary Art [NL], Gerhard Hofland [NL], Horton [USA], Juliette Jongma [NL], Kisterem [HU], Klemm's [DE], Van Kranendonk [NL], Martin Kudlek [DE], Maurits van de Laar [NL], Wouter van Leeuwen [NL], Wilfried Lentz [NL], LhGWR [NL], Lumen Travo [NL], Lutz [NL], Ron Mandos [NL], Galerie Mazzoli [DE], Kunsthandel Meijer [NL], Kai Middendorff Galerie [DE], Galerie van der Mieden [BE], Mummery + Schnelle [UK], Nouvelles Images [NL], Onrust [NL], Ornis A. Gallery [NL], Parrotta Contemporary Art [DE], PHOEBUS Rotterdam [NL], La galerie particulière [FR], Jérôme Poggi [FR], RAM [NL], Galerie Ramakers [NL], RR reutengalerie [NL], Gabriel Rolt [NL], Rotwand [CH], Jette Rudolph Gallery [DE], Hidde van Seggelen Gallery [UK], Barbara Seiler [CH], Seventeen Gallery [UK], Slewe [NL], Stigter van Doesburg [NL], tegenboschvanvreden [NL], Tenderpixel [UK], TORCH [NL], TRAPÉZ [HU], Upstream Gallery [NL], VIVID [NL], Vous Etes Ici [NL], Wagemans [NL], Fons Welters [NL], West [NL], Works|Projects [UK], Martin van Zomeren [NL]
New Art Section
Samy Abraham [FR], Peter Amby Gallery [DK], Apice for Artists [NL], Rolando Anselmi [DE], Base-Alpha Gallery [BE], marion de cannière [BE], Conradi [DE], D + T Project Gallery [BE], Galerie Dix9 [FR], Future Gallery [DE], Herrmann Germann Contemporary [CH], Grimmuseum [DE], Galerie Rianne Groen [NL], Gypsum Gallery [EG], KANT [DK], Elaine Levy Project [BE], Meessen De Clercq [BE], Misako Rosen [JP], Galerie Tatjana Pieters [BE], Joey Ramone [NL], Niklas Schechinger Fine Art [DE], Schwarz Contemporary [DE], Maria Stenfors [UK], xpo gallery [FR], ZERP Galerie [NL]
Projections
Miguel Angel Rios - Akinci [NL], JODI - Bergarde Galleries [NL], Erkka Nissinen - Ellen de Bruijne Projects [NL], Mary Reid Kelley - Pilar Corrias [UK], Nicoline van Harskamp - D + T Project Gallery [BE], HeeWon Lee - Galerie Dix9 [FR], Danica Dakic - Gandy gallery [SK], Ruben Bellinkx - Geukens De Vil [BE], Jacco Olivier - Galerie Ron Mandos [NL], Les Schliesser - Mirko Mayer / m-projects [DE], Jun Yang - Misako Rosen [JP], Margaret Salmon - Office Baroque Gallery, Priscila Fernandes - RAM [NL], Adriana Arroyo - Galerie Gabriel Rolt [NL], Fernando Sánchez Castillo - tegenboschvanvreden [NL], Rehana Zaman - Tenderpixel [UK], Frank Ammerlaan - Upstream Gallery [NL], Yang Ah Ham - Van Zijll Langhout [NL]
Address Art Rotterdam
Van Nellefabriek
Van Nelleweg 1
3044 BC Rotterdam
The Netherlands
Opening hours
Thursday February 6: 11.00 - 19.00 hrs
Friday February 7: 12.00 - 21.00 hrs
Saturday February 8: 11.00 - 19.00 hrs
Sunday February 9: 11.00 - 19.00 hrs
Tickets
at the fair € 17,50
online € 13,50 [€ 4,- discount, www.artrotterdam.com]
Check for more information:
www.artrotterdam.com
www.artrotterdamweek.com
In and around the Van Nellefabriek various pop-up shows and artist presentations can be seen. The Mondriaan Fund shows young talent in a spectacular hall of the Van Nellefabriek at the exhibition Prospects & Concepts. On show is the work of 92 visual artists that have received a financial contribution by the Mondriaan Fund in 2012 to start their career. All disciplines are represented, painting and installations, photography and performances - and unknown talent as well as artist that have established a name already.
Participants Art Rotterdam
Main Section
acb Gallery [HU], AD Gallery [GR], Akinci [NL], Galerie Paul Andriesse [NL], Edel Assanti [UK], Willem Baars Art Consultancy [NL], Anita Beckers [DE], van den Berge [NL], Boetzelaer|Nispen [NL], Canvas International Art [NL], C&H art space [NL], Kristof De Clercq gallery [BE], Cokkie Snoei [NL], CultClub [NL], dépendance [BE], Feldbuschwiesner [DE], Flatland Gallery [NL], Galerie Fortlaan 17 [BE], Galerie van Gelder [NL], Grimm [NL], Jeanine Hofland Contemporary Art [NL], Gerhard Hofland [NL], Horton [USA], Juliette Jongma [NL], Kisterem [HU], Klemm's [DE], Van Kranendonk [NL], Martin Kudlek [DE], Maurits van de Laar [NL], Wouter van Leeuwen [NL], Wilfried Lentz [NL], LhGWR [NL], Lumen Travo [NL], Lutz [NL], Ron Mandos [NL], Galerie Mazzoli [DE], Kunsthandel Meijer [NL], Kai Middendorff Galerie [DE], Galerie van der Mieden [BE], Mummery + Schnelle [UK], Nouvelles Images [NL], Onrust [NL], Ornis A. Gallery [NL], Parrotta Contemporary Art [DE], PHOEBUS Rotterdam [NL], La galerie particulière [FR], Jérôme Poggi [FR], RAM [NL], Galerie Ramakers [NL], RR reutengalerie [NL], Gabriel Rolt [NL], Rotwand [CH], Jette Rudolph Gallery [DE], Hidde van Seggelen Gallery [UK], Barbara Seiler [CH], Seventeen Gallery [UK], Slewe [NL], Stigter van Doesburg [NL], tegenboschvanvreden [NL], Tenderpixel [UK], TORCH [NL], TRAPÉZ [HU], Upstream Gallery [NL], VIVID [NL], Vous Etes Ici [NL], Wagemans [NL], Fons Welters [NL], West [NL], Works|Projects [UK], Martin van Zomeren [NL]
New Art Section
Samy Abraham [FR], Peter Amby Gallery [DK], Apice for Artists [NL], Rolando Anselmi [DE], Base-Alpha Gallery [BE], marion de cannière [BE], Conradi [DE], D + T Project Gallery [BE], Galerie Dix9 [FR], Future Gallery [DE], Herrmann Germann Contemporary [CH], Grimmuseum [DE], Galerie Rianne Groen [NL], Gypsum Gallery [EG], KANT [DK], Elaine Levy Project [BE], Meessen De Clercq [BE], Misako Rosen [JP], Galerie Tatjana Pieters [BE], Joey Ramone [NL], Niklas Schechinger Fine Art [DE], Schwarz Contemporary [DE], Maria Stenfors [UK], xpo gallery [FR], ZERP Galerie [NL]
Projections
Miguel Angel Rios - Akinci [NL], JODI - Bergarde Galleries [NL], Erkka Nissinen - Ellen de Bruijne Projects [NL], Mary Reid Kelley - Pilar Corrias [UK], Nicoline van Harskamp - D + T Project Gallery [BE], HeeWon Lee - Galerie Dix9 [FR], Danica Dakic - Gandy gallery [SK], Ruben Bellinkx - Geukens De Vil [BE], Jacco Olivier - Galerie Ron Mandos [NL], Les Schliesser - Mirko Mayer / m-projects [DE], Jun Yang - Misako Rosen [JP], Margaret Salmon - Office Baroque Gallery, Priscila Fernandes - RAM [NL], Adriana Arroyo - Galerie Gabriel Rolt [NL], Fernando Sánchez Castillo - tegenboschvanvreden [NL], Rehana Zaman - Tenderpixel [UK], Frank Ammerlaan - Upstream Gallery [NL], Yang Ah Ham - Van Zijll Langhout [NL]
Address Art Rotterdam
Van Nellefabriek
Van Nelleweg 1
3044 BC Rotterdam
The Netherlands
Opening hours
Thursday February 6: 11.00 - 19.00 hrs
Friday February 7: 12.00 - 21.00 hrs
Saturday February 8: 11.00 - 19.00 hrs
Sunday February 9: 11.00 - 19.00 hrs
Tickets
at the fair € 17,50
online € 13,50 [€ 4,- discount, www.artrotterdam.com]
Check for more information:
www.artrotterdam.com
www.artrotterdamweek.com
11.1.2014.
NONBIENNALE #02_2014
Jan. 11 – April 12, 2014
(curator Josè Vieira)
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The Web Art Center, present from January to April 2014 the second edition of the Non Biennale, an event focused on non-artistic images curated by José Vieira.
Four programs are presented: Web Art Pavillion, Photography Pavillion, Video Art Pavillion and the special Curator’s Choice Pavillion with the best works presented to the biennale. On the OPENING it will be presented the video “Snaesthetic Wall” by Gruppo Sinestético.
Synaesthetic by Gruppo Sinestético (It), 2013
http://www.webartcenter.org/nonbiennale2/photo/gruppo_sinestetico.html
Image synaesthetic, situation of performance real uman from sinesteta Matteo.
Four programs are presented: Web Art Pavillion, Photography Pavillion, Video Art Pavillion and the special Curator’s Choice Pavillion with the best works presented to the biennale. On the OPENING it will be presented the video “Snaesthetic Wall” by Gruppo Sinestético.
Synaesthetic by Gruppo Sinestético (It), 2013
http://www.webartcenter.org/nonbiennale2/photo/gruppo_sinestetico.html
Image synaesthetic, situation of performance real uman from sinesteta Matteo.
10.01.2014.
Sculpture & Installation
Luis De Jesus, Los Angeles, USA
Almine Rech Gallery, Paris, France
Galerie Rupert Pfab, Düsseldorf, Germany
Ratio 3, San Francisco, USA
LUIS DE JESUS Los Angeles
Miyoshi Barosh
Feel Better, 2013
93 x 132 x 7 in (236 x 335 x 18 cm)
Courtesy of Luis De Jesus Los Angeles
MIYOSHI BAROSH
FEEL BETTER January 11 - February 15, 2014 OPENING Saturday January 11, 2014, 6-9 PM In FEEL BETTER, her second solo exhibition of multi-media works at Luis De Jesus Los Angeles,Miyoshi Barosh focuses on the shift in responsibility from society to the individual to create and sustain meaningful lives and, concurrently, the way cultural failure has become internalized. Value, however, in Barosh's work is a "projection of ourselves onto things" like cute animals, mythic landscapes, cultural aphorisms, and the built environment. Her use of vernacular craft processes and folk traditions in combination with digital technologies contradict ideas about progress and technological determinism. Her work Arcadia is an assemblage of accumulation, consumption, and destruction with its faux dimensionality as a folksy-crude parody of Tron and the landscapes of computer gaming in conjunction with home videos of cats from YouTube. In this mediated experience of nature, reduced to floral patterned fabrics and digitized kittens, animals are consumed as constructs of cuteness, an addictive escape to an interiorized "happy place." The images of the kittens reflect a culturally induced need for self-medication. An extension of the ideas elaborated in Arcadia, I ♥ Kitties are layered, screened, Instagram-perfected reproductions of captured kitty heads, the new celebrity icons of the digital age, at once eye candy and hypnotic drug. From a kind of interiorized form of self-medication to projecting out onto the landscape and built memorials, Monuments to the Failed Future refers to industrial capitalism's utopian promise of shared wealth. Barosh's models parody male-dominated power as represented by public monuments and projects. The individual titles within the Monuments series, for example, Model for the Monument to a Manipulative State of Well-Being is strident, manifesto-like in opposition to the inflated model itself. Each "model" is also depicted in situ on a digital photogravure print made from vintage postcards of scenic America: the projected landscapes of our collective national consciousness. Today, with the rapid growth of technological innovation, the assuagement of negative emotions has taken the place of any progressive social action. This, and the decentralization of power, has made the monument superfluous. The title work, Feel Better, is a billboard-sized, large text proclamation exhorting readers to action: to affect emotional change. The inadequacies of this text to conform to higher graphic standards subsume its ability to accomplish that which it demands. With material, process, and text, Barosh makes work that is a manifestation of competing emotions around cultural conceits and identity. "Through the intense materiality of language-as-sculpture, the work activates a kind of monumental craftsmanship that oscillates between the fleeting virtuality of a Facebook 'wall' and the timeless finality of a tombstone." Annetta Kapon, BOMB, Fall 2013 Miyoshi Barosh is a Los Angeles-based conceptual artist working in a wide range of materials and techniques including craft processes and found objects while exposing the socio-political underpinnings of American culture. Her work has been exhibited in Los Angeles, New York and Miami, most recently in the exhibition Woman, War, and Industry, curated by Amy Galpin, at the San Diego Museum of Art, and Size Really Does Matter, at Los Angeles Municipal Art Gallery. Other recent exhibitions includeCheerful and Heroic: Eight Perspectives on the Art of Failure, curated by Lauren Lockhart, at Southwestern College Art Gallery, The Loop Show, curated by China Adams, at the Beacon Arts Building, Los Angeles, and We're Not Here to Waste Time! (Artforum Critics Pick) at Luis De Jesus Los Angeles. She was also artist-in-residence (2010) at the New Children's Museum in San Diego, where she presented the monumental installation I am the one who will make a difference. As an editor and publisher, she has worked on booklength interviews with artists such as Vija Celmins, Mike Kelley, and John Miller as well as with writers Sylvère Lotringer, David Rattray, and Ralph Rugoff. Miyoshi Barosh was born in Los Angeles, CA; she lives and works in Pasadena. Barosh received her MFA from California Institute of the Arts and BFA from Rhode Island School of Design. She also attended Yale Summer School of Art and Music and Parsons School of Design Summer School in New York City. Also showing concurrently in the Project Space: MARTIN DURAZO: SUB(VERSIONS) 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 Rupert Pfab, Düsseldorf
Helmut Schweizer
ATOMIC ELEGY . HARD - BOILED WONDERLAND Part I (detail), 1985 - 2013
mixed media
Courtesy of Galerie Rupert Pfab, Düsseldorf
HELMUT SCHWEIZER
MELANCOLIA. 8/6 - 3/11. A CHI DI COMPETENZA 11 January - 15 February 2014 "A Klee painting named 'Angelus Novus' shows an angel looking as though he is about to move away from something he is fixedly contemplating. His eyes are staring, his mouth is open, his wings are spread. This is how one pictures the angel of history. His face is turned toward the past. Where we perceive a chain of events, he sees one single catastrophe which keeps piling wreckage and hurls it in front of his feet. The angel would like to stay, awaken the dead, and make whole what has been smashed. But a storm is blowing in from Paradise; it has got caught in his wings with such violence that the angel can no longer close them. The storm irresistibly propels him into the future to which his back is turned, while the pile of debris before him grows skyward. This storm is what we call progress." [Walter Benjamin: On the Concept of History (1940), Thesis IX] Galerie Rupert Pfab is pleased to present the exhibition Helmut Schweizer - MELANCOLIA. 8/6 - 3/11. A CHI DI COMPETENZA. The concept and action artist Helmut Schweizer (*1946), whose subject matter is largely dominated by the natural sciences and their history, focuses intensively on the threats of nuclear technology and the way society deals with these. Like Walther Benjamin's "Angel of History", he looks into the past, which is determined by human civilisation and its technology, and in doing so exposes much of what was once considered to be progress as catastrophe. When it comes to his critical observations in the field of tension between nature, culture and civilisation, he is first and foremost merely a dedicated collector of facts with all their details. Inspired by this knowledge gained over the course of numerous decades, he then consistently develops new works of visual art, whereby his intentions are never moral. Helmut Schweizer studied painting, philosophy and art history in Karlsruhe from 1967 through 1973, at a time when the Düsseldorf-based artist Joseph Beuys exerted a great influence on the discourse of contemporary art. Inspired by Beuys' actions, Helmut Schweizer was already striving to transgress boundaries in art and, to this day, continues to make use of the most varied media and materials in the aesthetic realisation of his goals. He creates complex installations and scenarios, within which the laboratory is a central motif. He combines early works from the 1970s which focused on the study of plants, exposing them to chemical processes and photographing them together with large furnishings, equipped with fragile glass containers. These held luminous, chemically reactive fluids and other ephemeral substances, which visualize time by means of oxidation and decomposition. Installation works such as these are combined with complex collages of images, colours and texts with references to important scientists of the 20th century, as well as music, literature and especially the visual arts. Helmut Schweizer quotes artists such as Albrecht Dürer, Gian Lorenzo Bernini, Caspar David Friedrich, Hieronymus Bosch and Giorgio de Chirico. In his recent works on paper, press images of the nuclear disasters in Hiroshima, Nagasaki and Fukushima merge together with woodcuts by the Japanese artist Hiroshige and works by the Surrealists Max Ernst and Marcel Duchamp. The exhibition "Melancolia" in Galerie Rupert Pfab continues on the themes presented in the installation "Atemwende" (Turning Point of Breath), which Helmut Schweizer presented in the exhibition "LABORATORIUM" in the Städtische Galerie Wolfsburg in 2010. In the first space of the gallery, he will also present one of his earliest works from the 1960s, "Berg & Wolke" (Mountain and Cloud), which forms a kind of prelude to the main installation. This work consists of a space lit with black light and equipped with glass display cases glowing with uranin, which both captivates and irritates the viewer simultaneously, as well as a large "laboratory" with furnishings and large-scale works on paper. Both spaces deal with the nuclear disaster of Fukushima as the tragic result of the discovery of atomic energy in the late 19th century. Helmut Schweizer is represented in numerous international collections, including the Staatsgalerie Stuttgart, the Museum Ludwig in Cologne and the Kupferstichkabinett Berlin, and participated in the "documenta IX", curated by Jan Hoet in 1992, as well as other significant exhibitions in important museums. In 2010, the Städtische Galerie Wolfsburg presented a comprehensive retrospective. He will also participate with a large-scale installation in the exhibition "Kunst und Alchemie - Das Geheimnis der Verwandlung" (Art and Alchemy - The Mystery of Transformation), which will take place in the Museum Kunstpalast in Düsseldorf in 2014 in conjunction with the "Quadriennale" of the State Capital of Düsseldorf. Exhibition opening on Friday, 10 Januar 2014, 7:00 - 9:00 p.m. The artist will be present. Artist Talk in conjunction with the Düsseldorf Photo Weekend on Saturday, 1 February 2014, 5:00 p.m., moderated by Dr. Dedo von Kerrsenbrock-Grosigk (Curator, Museum Kunstpalast) Galerie Rupert Pfab Poststraße 3 D-40213 Düsseldorf Germany T: +49 211.13 16 66 Galerie Rupert Pfab |
Almine Rech Gallery Paris
William J. O'Brien
Untitled, 2011
Ceramic
16 1/8 x 18 x 9 in (41 x 45.7 x 22.9 cm)
Courtesy of the artist and Almine Rech Gallery Paris
WILLIAM J. O'BRIEN
THE LOVERS January 9 - February 15, 2014 Almine Rech Gallery is pleased to announce 'The Lovers', the first solo exhibition by William J. O'Brien in France. Prior to a major survey exhibition of the young American artist at the Museum of Contemporary Art in Chicago, this exhibition brings together a series of ceramic sculptures made between 2008 and 2013, and a series of new works on paper. This exhibition reflects the diversity of mediums and themes found in O'Brien's work for almost ten years. William J. O'Brien is part of the return to ceramics in contemporary art, seen over the last ten years with artists such as Rosemarie Trockel, Thomas Schütte and subsequently taken on by a younger generation of artists. His ceramic sculptures reflect the extent of his vocabulary by developing complementary or opposite forms: they oscillate between matt and gloss, between anthropomorphic shapes with smudges and drips; as well as geometric abstraction reminiscent of Calder. The shaping hand always present, there is a primitive element that immediately stands out - whether referencing the grinning masks of the South Pacific or the plastic qualities found in the culture of native Americans. For O'Brien this is not an identity issue nor a tribute to a native history: the artist was born in Ohio, and studied at the Art Institute of Chicago, so his use of primitive forms is more akin to Picasso, Paul Klee or the Surrealists; taking an oppositional stance relative to a cert ain automated sophistication of form found in many artists of his generation. O'Brien's ceramic practice skillfully plays with this return to primary expressionism (it is curious to note that the artist was an instructor at a center for the mentally ill), a representation of the human sometimes flirting with the grotesque, but presented on pedestals made by the artist, an institutional device that is simultaneously perfect and ironic. This primitive and modernist dual heritage is also an important anchor in teaching at the Art Institute and on Chicago Art, which shapes the sensibilities of such artists as Nancy Spero or more recently Sterling Ruby. Indeed, one of the first group shows to introduce O'Brien was "Modern Primitivism" at the Shane Campbell Gallery in 2009. The Lovers affords us the possibility to understand the extent of his expression, both sensitive and informed. Born in 1975 in Eastlake, Ohio, William J. O'Brien lives and works in Chicago. Recent and important exhibitions include The Nerman Museum of Contemporary Art (Overland Park, KS, 2012); Works on Paper at SHAHEEN Modern and Contemporary Art (Cleveland, Ohio, 2011); and The Renaissance Society at The University of Chicago (Chicago, 2011). The artist's first major survey exhibition opens at the Museum of Contemporary Art of Chicago in January 2014. Almine Rech Gallery Paris 64 Rue de Turenne F-75003 Paris France T: +33 (0)1 45 83 71 90 Almine Rech Gallery Paris | Brussels Ratio 3, San Francisco
Mitzi Pederson
Untitled, 2014 (detail)
Courtesy of Ratio 3, San Francisco
MITZI PEDERSON
3:43 January 10 - February 15 Opening Reception: Friday, January 10, 6 - 8pm Ratio 3 is pleased to announce 3:43, an exhibition of new work by Mitzi Pederson. For her fifth exhibition with Ratio 3, and her first at the gallery's Mission Street location, Pederson has worked continuously in the gallery space for several weeks, turning rudimentary materials into a complete installation. The resulting works bring Pederson's unique sensibility into dialogue with time and its effects on a given space. Continuing her exploration of deceptively simple arrangements, Pederson creates elegant objects that combine contradictory gestures. In several works, the fluidity and lightness of fabric contrasts with the tension of bowed lumber. Other works combine Pederson's interest in ephemerality with her intuitive sense of weight and permanence - strips of fabric draped over beams and blocks of concrete seem to vanish depending on vantage point and time of day. By referencing a moment in time, 3:43 acknowledges both a specific moment in an architectural space, and the gradual shift of environmental conditions from one day to another. The light at 3:43 is different from the light at any other time of day, yet each day's 3:43 is slightly different from the last. The works comprising 3:43 showcase Pederson's discerning use of common materials, addressing not only spatial themes of balance and tension but also temporal themes of light and presence. In the spontaneity and thoughtfulness of their construction, Pederson's sculptural objects manage to seem both fleeting and permanent. Mitzi Pederson lives and works in San Francisco. Born in 1976 in Stuart, Florida, Pederson earned a BFA from Carnegie Mellon University in 1999. In 2004, Pederson completed an MFA in Painting and Drawing at the California College of the Arts. A selection of her solo exhibitions includes Schleicher/Lange, Paris (2012); World Class Boxing, Miami (2009); the Hammer Museum, Los Angeles (2008); and White Columns, New York (2006). Pederson has participated in numerous group exhibitions, including the American Academy in Rome (2013); the Scottsdale Museum of Contemporary Art (2011); MACRO FUTURE, Rome (2009); Milton Keynes Gallery and Harris Museum, Preston, UK (2009); ACME, Los Angeles (2009); and the 2008 Biennial at the Whitney Museum of American Art, New York. Her work is in the collections of the Museum of Contemporary Art, Chicago; the Henry Art Gallery, Seattle; the San Francisco Museum of Modern Art; the Berkeley Museum of Art and Pacific Film Archive; and the UCLA Hammer Museum, Los Angeles. Gallery hours: Tuesday - Saturday, 11am - 6pm, and by appointment. Ratio 3 2831A Mission Street San Francisco, CA 94110 T: +1 4158213371 Ratio 3 
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03.01.2014
dm contemporary NYC presents Caleb Taylor
Space Gate I - Pull
2012
Oil and acrylic on canvas
72 x 66 inches
182.9 x 167.6 centimeters
CALEB TAYLOR A solo exhibition of recent works by artist Caleb Taylor is now on view through 1 February, 2014. Taylor's work has been exhibited in a three person show as well as several group shows at dm contemporary. This is his first one-person show with the gallery and his first one-person show in New York. dm contemporary NYC 39 East 29th Street, 2nd Floor New York, NY 10016 TEL 212 576 2032 [email protected] www.dmcontemporary.com Abstract yet tactile, Caleb Taylor's paintings explore the complex dynamics of body and space, and how physical and psychological encounters with our surroundings are influenced by perceptual variables such as palette, materiality and scale. The spatial experience unfolds dramatically as the viewer is confronted by Taylor's large scale, mostly dark paintings. Bands of dark grey and black paint, like bars of a gate, sweep across the surface in broad gestures - vertically, horizontally, or crisscrossing - blocking or revealing the more luminous bright colors underneath. Gates serve a dual purpose: they deny entry, but they also allow it. This tension and duality carries on in Taylor's work with investigations into what is near/far, foreground/background, concealed/revealed. According to Taylor, his paintings "create non-specific places where modes of looking are as much the content as material, subject or presentation strategy". 
Space Gate VI
2012
Oil and acrylic on canvas
90 x 78 inches
228.6 x 198.1 centimeters
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Crimson Divide
2012
Oil and acrylic on canvas
20 x 16 inches
50.8 x 40.6 centimeters
Caleb Taylor is a 2010 Charlotte Street Foundation Fellow whose practice freely navigates the disciplines of painting, drawing, collage, and sculpture. He is the recipient of the prestigious Joan Mitchell Foundation MFA Grant, and has completed residencies at Vermont Studio Center, Urban Culture Project, and Ucross Foundation. His paintings and drawings are published in New American Painting and have been exhibited at numerous venues including the Nerman MoCA, Grand Arts (KC), CUE Art Foundation (NY), and Sherry Leedy Contemporary Art (KC). Taylor's work is included in the collections of the Nerman Museum of Contemporary Art and KU Medical Center. He received his MFA in painting from Montana State University-Bozeman (2008) and his BFA from Northwest Missouri State University (2004). Currently, he is a Special Instructor in the School of the Foundation Year at the Kansas City Art Institute. In addition to his studio practice, Taylor is a founding member of PLUG Projects, a curatorial collaboration in the Stockyards District of Kansas City. PLUG's goal is to energize artists and the public at large by exhibiting challenging new work by local and national artists. They are recipients of a 2011 Rocket Grant from the Andy Warhol Foundation, Spencer Museum of Art, and Charlotte Street Foundation.
Space Gate III - Barrier
2012
Oil and acrylic on canvas
90 x 78 inches
228.6 x 198.1 centimeters
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1.1.2014.
Sa ruba fotožurnalistike / From the edge of photo - journalism
Brendan Bannon , USA “Wonderful Photographic Site”
04.1. - 11.1.2014., Beograd, Srbija
Sa ruba fotožurnalistike / From the edge of photo - journalism
Brendan Bannon , USA “Wonderful Photographic Site”
04.1. - 11.1.2014., Beograd, Srbija
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Udruženje Art Balance najavilo je od 4. do 11. januara u Galeriji Narodne banke Srbije u Beogradu izložbu fotografija “Wonderful Photographic Site” Brendana Benona (Bannon) iz SAD, koje su nastale tokom njegovih fotožurnalističkih zadataka u Africi - u izbegličkim kampovima, iza scena konflikta, području ekološke katastrofe, ali i u jednostavnim domovima običnih ljudi.
Info: http://www.seecult.org/vest/sa-ruba-fotozurnalistike
Info: http://www.seecult.org/vest/sa-ruba-fotozurnalistike
Exhibition IV
Exhibition III
Exhibition I
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Exhibition II
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Freelance gl. i odg. urednik od / Freelance Editor in chief as of 2009: Sabahudin Hadžialić
All Rights Reserved. Publisher online and owner: Sabahudin Hadžialić
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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